Blender 3 | Beginners Step-by-Step Guide to Isometric Rooms

1. Introduction to Creating Isometric Rooms With Blender: Welcome everyone to blend. The three began a step-by-step guide to isometric rooms. This will be our second course on isometric room design. And this time we have taken up a few notches, both in terms of realism and now the course is laid out as an experienced instructor, I understand how hard it can be for beginners getting started in the world of 3D. And that is why this course is over 10 h long. We really do go into every fine detail of putting together an isometric room from the referencing to the gray box in to a final render that really does stand out in the crowd of amazing artwork. So if you are a beginner to 3D or a blend the user already looking to take your projects to the next level, then you won't want to miss this course. My name is Neil and I have eight years in the 3D modeling industry. This includes a large YouTube channel with a massive amount of complete environment guides, free content and hundreds of tutorials. I'm also the instructor behind over 20 plus courses on Blender. Most are usually successful. And almost all of our courses around the 4.7 out of five stars mol. So trust me, when I say this, We have built this course from the ground-up to help you create amazing scenes, not just on this course, but also in your future projects. The knowledge you learn here today will really help any of you out there take your blender knowledge to that next level, from simple prompts to complex environments will teach you the skills and knowledge you need to take on any project. You will have a deep understanding of the blender modelling workflow. So you can bring your ideas to life and create visuals that will captivate your audience. But he's not just about technical skill. You will also learn valuable insights on how to create stunning visuals that grab attention. We start the course not with modelling, but we've references giving you the best workflow going forward. From there we move on to gray box in our room. This is the industry standard method used by all top gaming and film studios. So it's a good idea to start out the right way. Move into the next stage of this course includes a comprehensive download pack of seamless and atlas texture maps, which are essential for creating the textures and surfaces in your models. With these texture maps, you'll be able to create a wide range of materials from wood and metal to mobile and break always stunning levels of detail and realism. As we progress further, you will learn the professional modelling techniques that really will make creating most real-world objects are breeze. This will include things like couches, books, windows, and even a grand piano as our centerpiece. As part of the course, we have devoted a lot of time to understand the UV unwrapping process now to get the most of your texture maps, by the end of your isometric room creation, you really will have the skills to create your own stunning rooms, but it doesn't end there. The final part of the course is all about compositing, enlighten to really bring your work to life. This will include the cycles x render engine and the huge inbuilt blend a compositor. If you've ever wondered how to create realistic looking environments, then this course will cover that much, much more. Finally, unlike most courses out there, This course will guide you every step of the way with our onscreen pop-ups and animations telling you not only what keys to press bolts and in-depth explanation of why we're doing something in a particular way. This means whether you're a complete beginner or Blender guru, you can follow and learn alongside me, us together, we create our amazing isometric rooms. So what are you waiting for? Come join me on this amazing calls and see outfall. Your imagination will take you. 2. Laying Out The Course & Blender Basics: Welcome everyone to blend. The three began a step-by-step guide to isometric rooms. And this is where we'll start out then in Blender. And you'll notice that the moment down on the bottom right-hand side here, I am using Blender three-point false. So that's the first thing. And the reason I'm using Blender 3.4 is because at this point in time is the newest version, I recommend that you use anything of both blender to 0.8. But if you can anything above blender three, and I do understand some lower end machines do actually struggle running anything over 2.8 and sometimes over three by recommend anything over 2.8. And why I'm saying that is a lot of the things that we'll be using in this actual course, we'll need things above 2.8. For instance, we've got EV which came in into 0.8. And above three, we have something which is the asset manager that also came in after the blend of three. So the newest version if possible, that you can get your hands on, all that will work on your computer, the battery will be to follow along. Alright, the next thing I wanted to discuss then at the moment, you will have the same setup as me. I've set mine to absolutely default factory settings basically straight up the box. And at the moment you'll probably have down here what version of Blender you're actually using. Now, the moment in the scene, we have a camera, we have a cube and we have a light source, but we don't have any details about what's actually in the scene. So that's the third thing actually wants to discuss. So let's come up. I'm first of all go to Edit, which is over here. Come down to Preferences. And if we go then to interface, we will have one that says status bar here. If we open up status bar, we will have these scenes, Statistics, System memory, and video memory. So just go ahead and turn all of these on. Now you'll notice that down on the right-hand side, we have a collection, which is this collection here. There's a Cuban there. We have the number of vertices that are in here, number of phases, number of triangles, the number of objects in the scene, which is three, because we have three objects in there. Then also more importantly, the amount of memory that we're actually using. Sometimes when you have very, very large scenes and using a lot of textures and things like that, it's going to take up a lot of memory usage. And this means then you can really work out what is it that's taken up so much memory? It could be, for instance, you've got too many polygons on an actual model that you didn't know about. You might have important one in I have loads and loads of polygons, 2 million polygons. And you just didn't know, this is a really great way than a finding out how much memory using how many polygons are all the other things in the blender preferences we will be going through, especially the one for add-ons, especially the one for system and things like that. But we're not actually going to do that right in the start here. So basically we're just going to close that down now, the next thing we're going to move on to is down at the bottom left-hand side here. You can see that I've actually got key cost and on. So every time I make a keystroke or even press something like shift day, you will see that actually pops up on there. So you'll be able to easily follow along. If I'm actually talking too fast or if things are moving a little bit too fast. We have kinda planned out this course, though they moves a nice progressive rate. We start off with the easier things and slowly move on to much more difficult things. The other thing is the way I'm going to show you of how you actually build this isometric room is probably the way you should go with in the future. So we go through things like bringing the light in. We go through things of gray box in. And basically then we can actually swap those gray boxes out for actual realistic looking objects. And the reason we do this then is because we can plan ahead and make sure everything fits in the scene. Once we've actually done that, then we can add the little things. So gray box and out really is just making sure that your scenes all going to fit together and you have a good idea of why it's actually going to look like. Alright, so now we've said that we need to actually move on then to camera movement and actually moving around the actual blend of viewport. Now, if you're not new to Blender, you're probably going to know this already. So you can actually move on to lesson two. But if you are actually brand new to blend it, then it's a good idea to watch this through to the n. It's just a short tutorial just to explain in how we move around the actual viewpoint in Blender. All right, everyone, so I'll see you when this is over. Hello everyone and welcome to the Basics of Blender part of the course. I recommend grabbing a pen and paper or a Word document enjoin down these keyboard shortcuts. He'll be going through the very basics of Blender and the keyboard shortcuts you will need. So we've all that said, let's get started. So on the left-hand side, you'll see I have key casting on. This will show you the keys I'm pressing in real time, and this will be on pretty much, if not all, of the entire course. The next thing I'd like to show you is any new keys we use. There'll be a small animation that will appear down at the bottom right-hand corner. This will only appear the first time we use that particular new key. And I think it really helps keep the flow of the lessons to a decent rate, both for beginners and those more familiar with Blender, because they only appear once. They won't clear up the screen. And there's always screen cast into rely on. Also down the bottom right-hand side, you'll see a detail animation. I'm anything that needs more contexts. This is useful if you're new to 3D model in particular, because there's a lot of jargon and technical terms that need a decent explanation or more contexts of why we are doing something. I recommend. Then if you need more information, jumping onto Blend and website and checking out their detailed explanations or pretty much anything blend unrelated. So now when we mentioned blend the viewport, this is actually a viewport. You can see all of this gray area here is actually the viewport. Now, if we go to the UV Editing ball up here, you'll see the overlap downside. It's now on two screens. And if I say the UV Editing viewport, all that means is just this gray box over here. So now let's go back to modeling and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is the middle mouse button. Actually, if you hold it down, you can rotate anywhere within the blend of viewport. And then if you want a Zoom is just scrolling and scrolling back. Now you can also press Control Shift and the middle mouse, hold it down and then just push it forward or push it back. And you can scroll in very, very slowly. Now it's a pond or you need to do is you need to hold Shift button on the middle mouse. And then you can pan from left to right and to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it. All you need to do is press the adults on the actual number of pod and that will zoom. You're writing to the objects. You want to Zoom too. So for instance, if I'm zoomed out and I want to zoom to my life, for instance, it's very easy then to come across the scene collection. Click on your light crest adult on the number pad and that will zoom you write it. Now the next thing we need to discuss is just deleting objects. To click on an object is just left-click. And then when you compress as you can press the Delete key, and that will just lead to out of the way. So I've just laid to my light there and now I'm going to come across to my camera and actually delete that out of the way as well. The next thing I want to discuss is if we click on this queue and we press shift D, you'll notice if you move the mouse now, it's actually going to make a duplication of my actual Q. If I don't actually click anything on my mouse and I just click the right-click button, it will drop that back in place. Now you can't see there's actually two cubes EU at the moment. Well, there actually is. So we need to bring in a gizmo. And the gizmo is facing something that we can move things left and right, up and down, things like that. So if I press Shift Spacebar, calm down and you'll see we've got one that says Move. And now we actually have our gizmo. And if I pull this to the right-hand side, you can see now we can pull this away and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you go to Select and now you can move it basically anywhere around the viewport. You can drop it back with a right-click or you can put it wherever you want it, so g, and then you click, left-click and it will put it wherever I wanted it. Now also why the adult bone, the Zoom to bone is important is if I press the dot bomb. Now, you will see that if I just zoom out and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual cubed. Now, if I click on the other queue and oppress the adult bone, you can see now I'm actually rotating around the origin of this Q. Now the next thing we want to discuss is object mode and edit mode. At the moment we are in object mode, we can't really do a lot with this cube except move it round. Now if I press the top button, we will then go into edit mode. And in edit mode, we can actually do a lot more things with this cube. So up on the top left-hand side here, you will see that we've got three different icons. One of them, this one here is vertices, the next one across these edges, and the next one across is. Now, if we're on vertices and we come over to this vertice for instance, I then, if I press Shift Spacebar to bring in my gizmo again, I then can move this around. Now if I come in to edge select, I can grab the whole edge and move this around like so. Finally, if I come into face select, I can now grab a whole face and move it around like so. Now the other thing is if we come to, are there to select, I can select the vistas. You can also select another vertex or another object or something else like that, just by holding the Shift button and actually clicking on the oversees all the other objects. Or if we come to face like for instance, we can grab this face, shift, select the second place, and this is how we can select multiple objects. Now, the next thing we need to discuss is the axis. So we can see we have a red axis and a green axis. Now, just to show you what this actually relates to, if we come up on the top right-hand side here where you've got these two interlocking balls and you click this little down arrow, you will see that we can turn on the z-axis. Now we're just going to turn this on just to show you what I mean. So it turn that on. Now you'll see another axis appears here. Now, the green axis is representation of the y. So if I want to scale this out on the y, all I would have to press S and why. And now you can see, I can scale it out along the axis. Now, if we wanted to scale out on the x, so that's the red axis. I'll press S and X and I can scale it out along 56. And again, the same thing. So S and Z, the open down axis is dead and its essence add and then you can scale it up and down. Finally as well, this also important if we actually wanted to rotate it because we've rotated on an actual axis. So what we're going to do is I'm going to grab the whole of this by pressing the a button and then I'm going to rotate it round. So I wanted to rotate around the y-axis, so it's all y. And then you can see it will only rotate on the y-axis. And no matter where I put my mouse, it will always rotate around that axis. Click you back to where it was just again, the right-click. And if you want to turn it all, you need to prices all and why again, then let's give it a degrees. So what we're going to do, he's going to press 90 on the actual number pad. So 90.2 boron, and now you'll see it's rotated by 90 degrees. So just to summarize that S is scale and all his rotate. Normally when we scale something or rotate something, it's followed by the actual axis and then it's followed by a number. Specifically when we rotate something, normally when we scale something we just hit scale, pull them outside and we'll scale it up when we rotate something that's normally all followed by the axis, followed by a number on the number pad. Now the last thing I wanted to discuss is if we go to object mode now, we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all turn off the z axis. And what we'll do now is we'll use the number pad to actually view this. So if I press one on the number pad, that will go actually into the front view of our viewport. If I press three on the long path, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our viewport. Now the opposite to get to the opposite, or you need to do is you need to hold control. So in this occasion will press control and seven, and that will bring us to the bottom of this object in the viewport control one is the rear of the object and controlled Three is the opposite side of the object. So now before we finish this section of the course, I need to show you something that's also very important. So if we come up to the top left-hand side, you'll see you've got a button here that says Edit. And if we come down to Preferences, one thing that you should always do that when you first download a blender, you should always put on the status bar, which is this button here. And if I click all of these on, you will see now, if I click them all along and I close that down, down at the bottom right-hand side here, you have all the details that you need. So for instance, we've got how many faces and how many triangles are actually in the scene. I'm the objects are in the scene. I'm the memory and v RAM. Let's actually take note. This is really important if you want to get a good idea of how much power you computer is actually using and how many polygons and triangles are in the seat. Polygons and triangles you'll learn more about as we progress through the course. And that pretty much covers the basic blender. And I'll be all found that both helpful, uninformative, but more importantly, easy to understand. So now as they say on with the show, welcome back everyone. I hope you enjoyed that. I hope you call those of you that are actually new. I hope now you have some idea of how to move around the viewport. Now we'll move on to lesson two. Thanks a lot everyone, and I'll see you on the next one. Thanks a lot. Bye bye. 3. What’s In The Download Pack: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off absolutely no way because we haven't done anything yet. So now we've gone through camera movement. I guess the next thing we need to talk about is actually saving the file. So to save your file, all you need to do is come up to here, go down to where it says Save As. And what you wanna do is save out your room. I'm saving mine in that my actual download pack, so I'm just going to save it there. I'm going to double-click this. You can just name it whatever you like and just save it out. Now you'll notice that you can just come up to file and just save every time rather than clicking Save As now you will notice the moment I do anything with this. Actually, there's a little star that appears or P, You probably can't see it because I've actually got rid of the white bit on my OBS, which is why I'm recording them on yours. There will be a little star and all that means is that you've not saved it out. Now I do recommend that you save out every single lesson because we blend. There are times when it will crash. It's not impossible to recover work, but you probably won't be able to get your weight back to the last actual edge that you put in. You will be able to get by pretty close, I would say within a minute or two, something like that normally. But I have had occasions where I'm not able to give them a wet back for a good hour or something. I've wasted that time, so just make sure you save it out often. Now the next thing I want to discuss is the actual download pack. So if I open my actual download pack, and here is my download pack, so this is exactly what you should be getting. Now the first one is called an HDRI setup. We're going to go into the little bit of that once we actually bring our HDRI in, It's basically how to bring in real-world lighting. And I've actually supplied a full setup where you can actually just bring it in. And I explained to you how it works. The next one is the human reference. And this is basically our human OBJ or object, which you can bring in then and you can scale everything to this actual size. And the reason why that's so important is because every single model you do, you want to be using this human reference time supplying or even get your own, but you want everything scaled round to that. And the reason is because if you're sending this out to something like Unreal Engine or unity, then you want to make sure that it's working within that games engine and everything is scaled. So if you're working in a pipeline or in a studio, you want to make sure everyone's assets are at the same scale. If you don't have that, then you're going to be the one who brings something in. It's going to be 20 ft tall when it's just a bench or something. And that's not what we want to happen. There are other reasons, of course, physics engines within blender or within those other programs, they don't tend to work so well. If you've got items that are simply huge or too small, that needs to be the right scale because that is how the physics is based on another words, if you've got a car run into a wall, you don't want to call to be the size of the Empire State Building. Also it will simply the physics won't work correctly. Another reason is that if you're doing animation, you rarely want everything to be scaled so that rigs and things like that actually work. So that's a real good reason why we actually build around this human reference scale. Now this human that we're going to bring game is set to 1.8 m tall. This means is the average size of a male, which is what is, You've got mail once you might be a little bit smaller. Alright, so let's now look at the references. So if I open this reference, so Pell make it a little bit bigger so we can say, so let's go and make the view extra large icons. Now we can see what I've supplied here is things that are going to help you on your journey to create your own isometric room. For instance, we do have the shelving, so this is here so that we can actually plan out our shelves. And once you've actually finished the course, I'm sure you can go away and actually create your own things and make reference folder. Now we've also got the musical note here. So this is a nice one just to show you how the flow is going to be. We've got our grand piano because we're actually going to be creating some of the inside parts of here also shows you how many notes and things like that are actually on a grand piano. We've got our main image, which we're going to talk about in a little bit. So this is always a good image. So you can actually look back and see how we actually developed this actual colostrum because this is what we did. We actually built the C now and then we build a course around that is to make sure every step-by-step is included within the course. And it ends up looking something like this, not exactly like this. We will end up looking something like that. Okay, so the next thing we want to discuss is the violin. So we've got a violin in here and this is going to be really handy for when we're actually creating our violin, same as the piano. And finally, we've got a reference and it's called pure ref. And this is basically a free software that you can go and download. I recommend you go and download that. And I'll just open it up just to show you what we're looking at. So here's what you'll actually get with the pure ref. You'll see that we've got a lot of actual references in here. We've got things like the paintings that we've created. We've got the flu, we've got the microphone. And just to give you many, many ideas of what we're actually creating, this is really, really handy or looking at cities and things. And these basically it just basic examples of them, just something to think about and kind of base you all tone. Now another reason why I like pure ref is because I can simply come in, select this one, press C and hold it. I can just cut it out like so, press control Z and I can go back. The other thing is I can go on Google or Pinterest, grab some images and drop them in here, and then ends up with a reference guide to what I'm actually building now, building this coal. So I had a ton of references over 100 on here. I'm just leaving you with the most simple just references because we already know, actually know what we're building. But I do recommend using this program. When you go to create your own isometric rooms. And that's what this course is really about. Actually gain up to Europe to a level where you can go away and understand how to create your own rooms in the best way possible. I've been doing this now for about seven years. And I've found that this way of actually building the mount is the easiest way to do it and it gets you the best results in the fastest amount of time. But now let's put that down and we'll move on to the next, which will be our actual textures. So I'll just open up our textures. And you can see here we've got a list of textures. Now the thing is, the obvious ones are the break. So if I open up this break, I will explain what these are. So soon as it opens up, you'll see we've got three textures. Now I'm going to explain a little bit more what these maps are as move a little bit further on in the course. But at the moment, you can see that we do have, if pull this over you, a nice brick texture and this is called a seamless texture. And other words, no matter how many times you actually repeat this, is going to look the same. They all these bricks are going to line up together. And it means it's just a seamless texture. Now we do have a few seamless textures and these are great for things like floors, for walls. And you can see I've got frames. I've even got a leather couch one. So if I open this up, you'll see once it opens up, it doesn't look very appealing at the moment because it's just kind of a green. Whereas the normal map is going to be doing pretty much all the work. Because you can see, as I say, we're going to explain a little bit more about them. The main thing you need to understand at the moment is the difference between the seamless textures. So if I go back these seamless textures and then the atlases. Now what is an atlas you might say? So when I open this up, you will see if I open this up, for instance, that we've got a lot of different textures on the actual same map, which means that they can't be used like seamless textures you use, but they can be used like for lots and lots of different parts. Though. For instance, at the moment you can see we've got some books, we've got the grand piano, we've got some leaves over here. Another moment. We can't actually understand what these actually go to. What I've also supplied in here is the overview of what each of these are. So now it makes lot more sense. We've got painted white board, we've got coated would this is like mahogany. We've got some dirt. We've got the microphone metal, we've got gold metal, brass metal, plant leaves. Many of these will probably actually not going to use, but it does give you an idea of how to actually set up your own actual textures if you want to use atlases and they're really, really handy. And the reason is using seamless textures means that you're going to be using one whole texture for everything that's in the scene. Whereas if you using this, using many, many, many textures on the same actual material, so it cuts down the amount of materials that you're actually using. Thereby it's going to save you a lot of space, but we are going to be using both so that you will have a good idea of how to use them, how they work, and also how much memory they actually used. Because if I didn't have this, you can see we've got all 5678, 910, 111-213-1414 textures we have here really on one atlas. And if we were to make those each material than we would have faulty materials in the actual blend file, which would increase the amount of memory used significantly. And that is why we're actually using these. So that is basically the textures. And so you can see now the actual download pack has everything in it that you're going to need to actually get started. So when we come to the next lesson, what we're going to do then is we're going to be talking about important our human into the scene. And then we're going to be looking at how to bring references in so we can actually view them and work towards them. Especially handy if you've got some concept art that you want to actually work towards or everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 4. Discussing Blender Viewport Shaders: Welcome back everyone to blend the three beginners step-by-step guide to isometric rooms. And this is where we left off again with absolutely nothing because we had to go through a lot of things just to get us up to the point where we can actually now do something. Well, the first thing I'm going to do is I'm going to left-click my camera. I'm going to press the Delete button, just leave out of the way on the left click my little point light, press the Delete button, then I'm going to left-click my cube and press the Delete button. Now we're going to do the first thing you should always do is bringing your human reference just to scale everything. Just to scale everything. So I'm gonna do is I'm gonna go up to File. I'm going to go to Import, calmed down to where it says OBJ. Now they're all to OBJ is this is the legacy one and this is the new OBJ with Blender 3.4, I think it was. This OBJ is simply amazing. It's much faster than the old one, especially if you bring it in huge objects with many, many polygons, really, really quick to bring this in. So let's bring in our human OBJ, so areas. So here it comes, you just double-click it to bring it in. And you'll notice first of all, that first of all is highlighted in yellow. And that's simply means that we've actually got him selected. And the second thing is that you'll notice is little point of origin is down here. And what we want to do is actually moving from its actual center of origin. So if you press Shift Spacebar to bring in new gizmo, so it shifts baseball bringing the move gizmo. You'll see that I'm actually moving him from down here. Not very handy. Especially if you want to rotate him, you're going to be rotating them from this angle here and we don't really want that. So what we need to do is you just need to right-click anywhere in this viewport. So if I say viewport just means in this area here, right-click set origin to geometry, like so a night you can see we can actually move him. And best of all, when we rotate them around, is rotating from the right place. So that's that first of all sorted. Now I want to do, is we actually want to think about setting up some light in and setting up some actual plane so that the light actually bounce off. Because if you bring in just some lighting, you won't really have any. The light comes in, it just disappears into infinite nothingness because that's what this viewport is. Boston's we bring a plane on. You'll see that light actually bounces off correctly. Everything is well, it's always recommend before you start, if you press one on the number pad, that will give you the front view of your actual seen wires. Recommend not to get confused that to press one and make sure that you guy is facing this way. And then you know that you can build, you're seeing around him, around here, so things, so he's facing out towards your camera. Alright, next level Then let's bring in a plane. So I'm gonna do is gonna press Shift a to go to my premises memory. I'm going to go to Mesh and go to plane. And then from the plane I'm going to scale this out. So I'm simply going to press the S button and just pull it out so that my guy has something to actually stand on your notes is unknown something. Now, the other thing we need to talk about is ground-level. If I press one again on the number pad, you'll see that we have a red line, the x-axis going this way and the z axis going up this way. This blue line. If I press three on the number pad, you'll see we've got our green line, the y-axis going the other way. Now all I mean, if I'm on about the ground plane is just this line, either the x or the y. It just signifies that this is basically where the floor is in the scene. You'll notice unless I actually go in front view, I can actually see my zed axis, but we don't need to actually worry about the z axis is in regards as the ground plane. Alright, so the next thing we want to do now is we want to talk about these buttons over here because these are very important to bring in your actual lighting. Now, we're going to be swapping between these a lot throughout the scene. So it's important to understand what they are. At the moment. You can see we're on this one here. Now this one is called object mode. It means basically it takes away all of the materials, all of the colors, and most of the light in there will still be sunlight and within the scene, but it's very, very setback. There's not a lot in there. So what we wanna do is first of all, when we're on object mode, I want to come over to my little, this little down arrow here. And then what I want to turn on his cavity. And the reason I turn that on, as you can see, is it gives a lot more definition to what you're actually building, really makes it stand out much, much more. They actually have a really, really good idea of how the lighting isn't interacting with your objects before actually putting it onto material mode or anything like that just makes it a lot easier on the eye visually. Okay, so the next one we want to discuss is this one here. This is called wireframe. Now you can either click it on like so, or you can press the zoom button. And you've got one that says Wireframe, solid material view and rendered these all these three options appear. So if I click on Solid, you'll see we go back to what we had before. Let's press that and go to wire-frame then. Now wireframe basically is really handy because you can really see the topology of the model that you actually creates him. Or you can actually see through things to select things. We're going to be using this a lot as we go through the course. You'll have a really good understanding of why we use it so much. The next one is material view. And you can see at the moment. It still looks why, albeit a different white. Well, basically what this is if I come down to material over here and just change the color of my guides to make me a little bit darker. You'll see now that we can see the material on the guy. We can't see the material in object mode. As I said, it just looks the same. Okay, So material view has a little bit more lightening than the object view. So you can see things a little bit clearly, clearer. But the best thing is of course, that you actually bring in textures in and you can see them quickly and easily with the material view without actually trying to render anything. Now the next one we're going to click on is the rendered view. This will take a little bit more explaining because at the moment we can't see anything in the scene. And this is simply because we have no lighting. Let's quickly bring in a light. Then if I press Shift a, come down to where it says light, bringing a point light. Now we'll say that we've got actual real-world lighting in actual blender. Now the thing is if I come over here to this little TV, you'll see the render engine at the moment is set to EV. Ev is basically real-time rendering. The problem is with EV is not as good as cycles. It doesn't render out shadows and things like that so easily as cycles we'll do straight out of the bag. So what we're gonna be working on most of the time in our actual scene is actual cycles. Well, let's switch this over to cycles. Now. This is the main actual render engine in Blender. This is the basically blend is actual engine. So you might have heard of different actual renderers. For instance, like Maya, they have one called Arnold. Well this is blenders version of that. Now the main thing about because we use in Blender cycles is if we come down here, we can see that when we move around we get all of this noise popping up. What we want to do is we're just want to put this d noise on. And what that's gonna do is it's going to clean it up much better for us. And you can see it actually loads much faster. The other thing is, you can see at the moment over the left-hand side here, all of these samples are actually going up. So I tend to do that, tend to turn my samples down the viewport to something like 50, something like that. Then it's not going to. You can see now it says rendering don asked to just get to 50. It means it's not going to be just forever trying to create more and more samples. Now, depending on what your machine is capable of, you might want to turn this down lower than that all robo, trust me on this just to have it in the viewport, you really don't need it on any more than that. Now the next thing we need to actually talk about before going any further with the render engine is that blend the cycles at the moment, as you can see, it's working on my CPU. Now I don't particularly want that one I want to work on is my GPU, which is my graphics card. Because you graph is called generally, unless you're working on a laptop, is gonna be much, much quicker than your CPU. Let's go to Edit, go to Preferences, and then one going to do is go to System. On here, you can see that these are the cycle render devices. Now some people, as you can see, if you hover over here, we'll have hip, then we'll have open API. Most of you though, are going to be using CUDA. And if you've got a high-end machine, you're going to be using optics x. So you need to turn this on to whichever one has available. You really don't want it on non. Now there are cases when lower-end machines, you'll only have non, there's nothing you can do about that. If you can use CUDA, then turn it on optics, sex, even bad objects. X is basically the new version of cycles. It's called cycles x, and this is how you turn it on. Then what you wanna do is you want to put both of these on. This is mainly used in case you're swapping between your CPU or GPU, or you want to use them in conjunction with each other. Now I'm not so sure if the work actually really well using them in conjunction with each other. But I do know is turning both of these on definitely speeds up my own renders and my viewport rendering as well. So just turn both of these on. Now the next thing I want to do, we just want to close this down and we want to actually change this over now because we don't want to put those both on and not actually use them. So what I wanna do is I want to change this over to the GPU compute. And as you can see now, this is what we're left with. And you'll also notice how fast this is actually going up. So the samples are going up so much quicker than they were before. And it's simply down to the fact. And now using my GPU instead of my CP here. Alright everyone, so that's it for this lesson. What we'll do on the next lesson, we'll bring in some proper lighting. I'll show you how to do that. And then finally we can get started with our gray box. Hi everyone. Thanks a lot. Bye bye. 5. An Introduction To Lights & HDRI: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms, and this is where we left off. Now, let's put it on object mode just for a minute. Let's actually get rid of this point line in case you've brought your name. And let's first of all the scores and how to bring in our references. So we have loads of references like I showed you. So let's first of all press Shift a. What we're gonna do is you're just going to come down sway say's image and bring in a reference. I'm going to show you the wrong way to do this first of all, and then I'll show you the right way to do this. Shift a image reference. Let's go to our references. And at the moment, we can't really see what each of these art, we've got a name on them, but that's sometimes not very handy. Who all want to do is I just want to turn on this button over here to show all of the actual images. Now we are going to be bringing in things like the P&L. But the main one I want to discuss is this one here. If I double tap this, you will see that we brought it in. Well, it's a really, really weird angle and that's not very useful for what we're doing. Now references like this are really, really handy when you have an image that you actually want to work too. And you might actually want to bring it in Blender. Now I prefer to actually have my references on my other screen. So not actually in the blend, the viewport, because I feel like it takes up a lot of extra room for you. You might not have that option or you might like working like this. So I've brought my reference in, but at the moment you can see it's a really weird angle. And that is because I didn't bring it in properly, so I'm just going to delete that out of the way. And then what I'm gonna do is I'm gonna press one on the number pad and wanted a template again with image reference, double-click it. And now you can see is come in really, really nicely. So now you've got this reference to actually work with. You'll also notice that down on the right-hand side here, we have a little option now. So this little image, this is where we can actually turn the actual opacity down if we want to as well. So you don't need it as bright as what you had it. Of course you can press the S button as well and scale that up. Now you've got a real nice reference if you want to, just to pull over the side here and you can actually continue to look at it and actually work from it. Again, I'm going to actually close that reference down, so I'm going to delete it and I'm going to have my reference on my left on the screen and work from it from there. So I recommend having that reference open regardless because then your belt to follow along much easier. Because ever say, okay, we're going to start working on the stall or something. Now, you're about to look at the reference and understand what we're actually talking about. Now the other thing about the reference, so if I open up my references, a lot of these things here, we're not going to create exactly the same way as you see in this scene. We're all going to make it a little bit more variations on things. Some of these things were brought in from things like Blender kit. Now, I think it's important that you can use things like blend the kit to bring in objects. Or you could use things like CG trader to bring in objects. If you want to do that, to create things in the scene, to make it much quicker to put scenes together. But what I think you should do is be able to create those objects or items on your own. In other words, you should always be able to create the thing that you're actually bringing in before you bring it in. If you don't want to create your own, you don't know how they create today. Go away and learn how to create it unless you just put in rooms together to actually show a client how it's going to look. So you need something really quick and that's the only part of your job. But generally, if you want to learn modelling, learn out to make everything before actually starting bringing things in from Blender kit. Not only that, it will give you a really good idea of topology. What makes a good and bad model? How to make sure things are composited properly. And there's whole learning curve that you're going to learn from doing that rather than just bringing things in. Alright, so this I said is a reference that we're going to work and we're all going to be making pretty much everything in this scene. We're going to cut some corners as well. So I'm going to show you how to cook corners. And the main reason for that is that sometimes we have scenes like this. We don't actually create app to create everything down to the finest detail. So for instance, in this piano, you can see the inside of it. If I created this like a proper grand piano and all the little strings and everything like that in there, then it's going to cost us a lot of time for not a lot of benefit being as you can't really see in there. So it's always a good idea to think how close is this object going to be viewed by the player or the camera? So we, you know, in a lot of times in films, you will have a lot of background prompts. And if you really zoomed up to those backgrounds, props and, and look at them, they really wouldn't look nowhere near as good as what they look from a distance. The same thing as in film when you have these huge backdrops with waterfalls. If you really zoom in on those, you will say that they don't look anywhere near as good as what they should do because they haven't spent as much time. Point in every minute detail. And the reason is because it would be a complete waste of time because they're only using them as base, their backdrop. The same is true whenever you build anything. Now, whether that be for a game or a scene, just make sure, first of all, is the play going to be interacting with it? Is he going to be coming up close to it? Another example would be. For instance, in games like GTA, you can't actually go in a lot of the buildings because there's simply not built inside those buildings. There's just empty space, there's nothing actually in there. The reason is it generally populates the world and it's not needed to be used. So we don't need to build in them. And it saves a lot of time. Also, it saves a lot of time on things like rendering power and things like that. Alright, so I hope that makes sense. Now what we're going to look at now is some actual lines. So I'm going to put this over my left-hand side now because that's where I said where generally have my reference so I can actually work from it. And now we're going to do is actually bring in some lighting. Now at the moment, if I put this again onto cycles, you'll see there's no actual lighting in there. But luckily for us, I've actually supplied our own actual lighting setup. So let's first of all bring it in and then I'll show you exactly how it works. But if I come to file a, come down to where it says append and basically what our pen does, it basically appends a blender file. It means basically you can go within that file now and take things out of it like models or with the lighting or anything, even down to things like animation. But if I come to my HDRI setup, you'll say It's not like a list of loads of things within the blend file until you actually click on the Blend file. So as long as it's a blend file saved here, you will be able to open it. And then you can see within this blend file, we've got materials, images, whatever is in there. Well, the main one we're interested in is the world. So if I come to weld, you'll see that we've got one that says HDRI setup. The moment I click that, you'll see nothing happens. And the reason for that is because I haven't actually changed it over yet. If I come over now to my world, I click this little down arrow. You'll see one that says HDRI setup. Now the thing is that the moment you will see that it's actually pink. And this is because it actually hasn't got an actual HDRI to work with. Now, HDRI is actually high-definition real-world lighting. And basically what it means is somebody who's gone out there with a specialized camera and they took an image 360 degrees with all the lighting and all the environment actually in there. So you can actually see how light bounces off. They'll bounce off the same way if you put a cube in the scene where this actual lightened was taken, now they're all many, many places you can get free HDR light him from. So I recommend experiment with them, download them and give them their test in your own scenes. Well, for now we're going to use this one. And what I'm going to do to use this one is I'm going to come to my shading panel. And at the moment, first of all, you'll notice two things. No lighting in here. And that's simply because we've swapped actual panels and we've gone to our shading panel. It's actually set on material. So let's set this onto our actual renderer. So I'll cycles rendering and you'll see this happens. Don't know fin in the scene. And the reason there's nothing in the scene because if I click on my guy, you'll see that it's basically set to all materials. So if we come to here, we can see that this is called default and this is what is in here. And you can see this is the object this is on. Now we don't actually want it set on object. We want this set on world. So if I click this bond, come down to weld, and if I zoom out a little bit, now you'll see the setup that we've actually got. So this correlates to this HDRI setup. Now the moment you can see in the environment texture, there is nothing in there. So let's actually open that up. Now at the moment is because we haven't gone HDRI actually plugged into it. So if I go to open HDRI setup, we can see that we've got this beautiful sky. Well now if you want to see these a little bit better as well, click this little down arrow and click the size onto large. And now you can see it a little bit better. So you can see you've got some we've got sky in there and all things like that. If I double-click this, then this, then we'll actually bring game, our actual HDRI into our world. And now you can see that we actually have some real-world lighting. And on top of that, we also have our sky actual with the song actually saying here as well. Now we're only using this to actually settle Paul scene. So I recommend that before you actually do anything, you bring in this HDRI, you give it a nice setup so that we can actually see what we're doing here. Everything is as well. You can turn up the strength of this. So let's put it on something like two. Let's see what that looks like. Now you can see it's a little bit brighter, but straight away, what you will notice is now that everything just looks a little bit more realistic if I click off my guy, so I'll click anywhere around here. You can see that just looks so much more realistic with this lighting in place. And you will notice as well that where the sun is, it's directly over the top of them. And we can actually rotate this on rounds over, pull this over to the side like so. You'll see now all some actually rotates around. This is to rotate it around. Now the other thing about this setup is the moment you can see this is plugged into HDRI. We can actually plug in a color as well. So if I click that on, like so, you'll notice now it just stays to a standard color and that color, I can actually change through this. So if I change this color, you'll see it changes. Now the best thing is about this setup is I can also plug in the gradient BG. And of course that means that we've got two options now, which we can also change. So if I put this to white, you will see that the bottom of this changes. And once I put it, this one, let's say two yellow, you'll see the top part of it changes. So we have the ability to also have a gradient within our scene instead of the HDRI texture. Now the moment, I'm just going to use the HDRI, the sky, like so because I feel that is giving me the best lighting and things like that. Now, what I also recommend you do is you bring in a, another light, so a song or something like that. Because then it's going to enhance the actual HGRI that you've got in there. Again, this is only used for when we're actually building things out just to get a quick kind of dirty log of what everything's going to look like. What we'll do on the next one is we'll actually bring in our own song and won't position it around where this light sources. Now if you remember what I said a little bit earlier on in the course, this is where our guy is going to be right here. So we want the song probably to be around here somewhere to cast some real nice shadows. And we'll have a good idea of what everything's going to look like. All right, everyone. So I hope you got a lot out of this one and I'll see you on the next one. Thanks a lot. Bye bye. 6. What Is Smooth Shading: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms, and this is where we left it off. Now let's do what we said then. So the first thing we wanna do is I want to position this song to round the other side. So if I come over here, I'm going to move it round very slowly as you can see now, when I move it around, Let's see what that's going to go around now. They were my son is I think round. Yeah, way too much. Let's try 25. Let's see where that goes instead, I think it should be as it gone. Oh, that's way too much as well. So how are we getting there actually, actually, that's the place where I want so 25 for me. Now what we're gonna do is I'm going to bring in a song. So I'm going to press Shift a, I'm going to bring in a light, and we're going to bring in a song. And the song is basically an infinite light source. In other words, it's not like a candle or a spotlight, basically where it's shining, it will shine on infinitely At the same brightness the whole way through the scene. Now it's movie, you'll see that I've lost my gizmo. And that is because each time you click on one of these tabs, the actual Gizmo will disappear. Now, all you need to do is just press Shift Spacebar, go down to where the move tool is. Now I can just pull it up to where we actually want it. Now what I wanna do is I just want my son now to be overhear type place. So I'm going to press 712 at the top. I'm wondering then press G and because I'm actually over the top of it, straight on perpendicular to it. It means when I press G, it will move it along here like so. So I just want to pray over that. And then what I'll do is now I want to actually rotate this. So first of all, if I press three in the normal pub, I want to rotate it so it's this kind of angle. So all I need to do is press all x and just rotate it. It might be R and Y for you. All we're doing is rotating it on the axis. Pointer guy. Now the next thing is if we press seven now to go over the top, you'll see that it's pointing this way and we don't really want that. The other thing is you'll notice now that we've actually got a shadow. And this is one of the main reasons why we bring him in his song, because it actually brings in shadows. And that's really handy because it tells us a lot then of how things are going to load within the scene because you can build things really nicely. But once you've got shadows on them, once you've got some real-world lighting in there, you'll actually see things like the gold, things like the piano. They start to really come out. And actually, it really, really helps you build something out. Not only that, it helps that when we've actually built something, you get see in real-time what it actually looks like. It's really going to motivate you to carry on and finish the course. Alright, so I'm going to press Alt and z. I'm going to rotate it around, something like that. Now we've got this kind of shadow going like this, and we've got our real-world lied to men. And everything's kinda looking now, pretty realistic. Alright, so now we've gone through all of that. What we really wanna do now is actually start creating our scene. Now, it's always a good idea to, but when you start creating your scene, to create just a small gray box of where the basic things are gonna go. And then this will give you an idea of how everything's going to turn out. So let's do that now. So the first thing I'm going to do is I'm gonna go back to modelling and when to keep it on object mode because I really don't need to see anything right now. And then what I'm going to do is I'm going to bring in a cylinder. Again, make sure that you've got your actual this. So this open some way very new blend file or open on your left-hand side, because this is roughly what we're going to be working too. Alright, so let's bring in a cylinder. So if I press shift a shift day, Let's bring mesh and bringing a cylinder. Now you will notice that the moment this subnet has a lot of edges going down it, the option for if you bring anything in here, normally down on the bottom left-hand side. So if I click this open at the moment, you can see we've got 32 vertices. Now we need to be careful about how many vertices we're using. Because I just going to press Shift Spacebar just so I've got my move tool him. Because the thing is if I've not got enough votes, then this is not going to look to smooth. So I'm going to show you that before I carry on. So I'm going to do is I'm just gonna bring in another one. So I'm gonna, I'm gonna move this to the side now. I want to bring in another son that don't do this just so you get an understanding of what I'm doing, I'm going to bring in another Sunday and this time I'm going to put it on eight, like so. And then I'm going to bring in another cylinder. And this time I'm going to put it on 12 out like that on Wednesday from 12 here, like so. And then finally I'm going to bring in one more cylinder. So I'm going to move that over there. Bring in one more cylinder, and this time I'm going to put it on 20. Alright, so here are the cylinders in a line. We have 32, we have 20, we have 12, and we have, let's come to the first one. Then I'm going to do is I'm going to smooth this off at the moment. You can see it's really, really blocky, doesn't look rarely very realistic at all. And let's right-click now and shade auto smooth. Now the thing is if you're using an older version of Blender, you don't want to have this shade auto smooth or you're going to have the shapes move and it will come in like that. All you need to do when that happens then is just, it's just another click. Basically you just need to come to the normals and just make sure Altos move in is on. Basically this is the automatic way of our blender smooths everything off to make it look more realistic and not blocky like this. Now the moment you can see that sat on Thursday, this is why it's set to buy standard. Now if you turn this up, you're going to actually increase how much shading you've actually gone there. And that's actually really handy for if you have things where you want it rounded off, but you aren't quite good enough polygons and this will actually help. They're also, it's unclear if you want to make it really blocky. Again. Let's put it back to 30. Generally we keep it on that. What you can see though is that we really now have no bulkiness. And you can slightly see some blocking this on the top which you never going to completely get rid of unless you turn this up to something like 150 vertices. But again, the problem is the more votes as you use them. So if you can come down here, you can see the more actual computer power actually using, not only that, the more polygons, which is what vertices, edges, faces make up, the more of those you actually using, the more polygons are going to be using. The harder is if you've got it in a game, for a player to play that game on a lower-end machine. So we have to think about these things as we're actually building along African to the next one which is on 20. I do the same thing. You can see again, we've managed to get away with it. It looks pretty smooth, albeit it's a little bit blocky on the top. Now let's come to our 121, right-click Shade. Smooth. You can see now it started to break apart. Now we've got a block Enos here, we've got our blurriness here, and it doesn't quite look right. Now. We can come along and just turn this up very slightly, and then we get rid of all that blocking us. And it's only very slightly as you can see. So I recommend that ten to 12th it says on a cylinder about the lowest limit, you're gonna get away without closing yourself problems. So never try and go lower than that. If we come to this one which was the 81 sheets move, as you can see, nothing happens. As I bring this up, you will see dots to disappear, but it still looks blocky. The shadows don't look right, especially looks blocky on the top. So you can see that we've got to turn that a lot more and we're not really getting good results from. We only mainly use lower-end, lower versus on cylinders when we're making something that's really tiny light chain, something that you're not really going to be taking a really close look at detailed lookouts. That's why we're doing that. Alright, so with that, establish what we know is we can actually use probably something like 24 for the actual floor That's going to come out here. So let's do that now. So what we're gonna do is I'm going to press Shift day. I'm going to bring in a cylinder. I'm going to actually put it on something like 24. And I'm also going to turn up the actual radius of my flow to, let's say 3.5 m. So 3.5 m. And then he's gonna give me a good start for the actual size of my room because you'll notice is it's a round edge room, it's not square. Now the other thing is that the moment when I bring, every time I bring in a cylinder now, you will save a press Shift day, bring in another cylinder. It will come in exactly the way that down here. So if you're not happy with how big a cube or something like that is coming in. Just set down this size of it down here, and then it makes it a little bit easier to work with. Alright, let's turn down the depth now because at the moment, you can see that the depth needs to be a little bit thicker because it needs to be a floor after all. I'm just going to pull it up now I've got that and just drop it on top of my actual plane here. And then we're going to do is I'm just going to pick my guy up and put them on top of there, like so. And then what I'm going to do is I'm now going to bring everything down so that it's just actually above the ground plane. So if I press one, you can see at the moment this is where it's line above. So just make sure that you cylinder is just above this line here. So mine's pretty much there. I'm just going to grab everything with a press a and then we can just slightly lift everything up, like so. And then I'm going to grab my plane. I'm just going to pull that down just like that. Now you can see everything's kind of the one, this ground plane. And it means we can kind of build off that. Alright, so this is the main floor. Now what we need to do is we need to actually think about building walls out where they're going to go, and we'll be doing that on the next lesson. All right everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 7. Starting Our Greybox: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Now I want to do is I want to bring in a cube. And the cube I'm actually going to make into our actual rooms. So if I press Shift day, I want to bring in a cube. And by the way, I should say that everything will always come in wherever you've got this little cursor. If I shift right-click and then bring in a cubed, so shift, they bring in a cube. It will come in with this actual cursor is if you move your cursor the way that you can put it back, It's just by pressing Shift S, Paris, It's a world origin. Or you can press Shift S and cursor to select it, which means that I'll go to the origin. So let's say it's the humans. So Shift S selected point of our actual human. I don't really want that. I want to actually work from the center of the world. So I'm going to press Shift S, gets it to weld origin light. So I'm just going to leave this cube out of the way now. And now I'm going to do is I'm actually going to make sure I create my room to the right height and the right side. So I'm gonna do is I'm going to pull out this cube like so. Then what I'm going to do is I'm going to pull it up. Like so pull it up straight. Just so it's actually go into somewhere like that. And then what we're going to do is I'm going to delete now the bottom and the sides of the cube. So I'm going to come to the bottom. And all I'm doing to select these, by the way, is I'm just clicking, Shift-click, Shift-click, Shift-click. And what that'll do is it'll just select multiple faces. Now the other thing is before we actually carry on as well, I should actually talk about these phases. So at the moment, I can select these faces. I'm also going to talk about as well that I'm gone into edit mode as well. So let's actually go back before we actually do that and talk about these three points that will appear, appear. Shift day, bringing a cube is my cube. Now, the moment, I can't actually do anything with this cube except moving around with g or with the actual gizmo. What I need to do is I need to press Tab and then I get a load more options to actually work with. At the moment, you can see I've got these three options here. If the overall room, it'll say vertex, edges and faces. And we just want to make sure that we're on the right one. Now on your keyboard, 12.3, we'll change these over as you can see. So there may be quite honest, they've got so used to actually click in them that I don't really use the 12.3 which I showed it would speed up my workflow. But at the moment you can see vertex. Vertices are these little points here. If you grab one of these now you can see a connection. Move it around. Edges, are this one here. If I grab this, I can move it around. And finally faces is this one here. And if I grab this, I can move it around while I'm going to do now is I'm going to Shift select these ones in the front, these ones in the side. And I'm also going to delete the bottom. Once I've actually done some presently faces. Now I'm going to press a just to grab everything. It'll grab all of the mesh and turn it and this yellow color. And then I'm going to press S, pull it out. Like so. Now what I'm looking for here is to actually get a room that's going to be the right size. Now you can see now I can see the bottom of the floor. So I'm going to select it, delete bases a to select everything. And you'll also see now in actual edit mode, I don't have any gizmo again. So you'll actually see that you've either got a command over here which you can click on. You can actually close this as well with T, open it again. Then you can click on this one here, or you can press Shift Spacebar thing we're Blender is it always has the menus there to actually do things, but he's much easier once you've actually learned the key commands. Alright, so now let's pull it up a little bit. But it's just sat on that floor like so. And then what I'm going to do now is I'm going to pull the tops of it down. So I'm going to come to edge select, which is this one here, or to grab both of these and just pulled them down to be the right height. Now I can see for certain this is why I'm building a gray box that this room is probably going to be way, way too big at the moment. Well, the thing is it's really hard to tell it until you've actually brought in war. It is you're actually trying to do. So I'm going to do, first of all, is I'm going to bring in the piano. And then from the piano, I want a gray box, the rest of it out because of the piano is the central point. Let's bring that in now. So I'm going to do, to bring that in is I'm going to actually bring in a reference again. So I'm gonna go over the top. I'm going to press Shift a. I want to come down to where it says image reference. And the one I want to bring in is this one here, which will be in your references. So it's in your references. Double-click it and bring it in. Now you'll see that it's coming in. It's flat against the Florida. I'm going to move it over to the side. Now I'm gonna do is I'm just going to quickly cut out this grand piano. And basically to use that then as a reference, how big this needs to be from pianos that can be all different sizes. Some of them are really big, some of them are quite small. So we can actually get away with making them the size that we actually want them. So let's actually do that now. So I'm going to do is I'm going to come to my actual reference that Boeing shift deaths cursor to select it to put my point right in there. Shift day, then bring in a plane. So mesh lane, bring in a plane, then all you're going to use, you're going to press seven to go over the top. Press S just so it covers the entire reference. And then what I'm going to do now is I'm going to go into wireframe. I'm going to press the Tab button. And now I'm basically going to just do a quick call out of this actual grand piano and then not then we'll make it easy for me to just kind of gray box there. So all I'm gonna do is I'm going to press with k. I want to come up to, I'm gonna come to this bottom part here around this bond corner. I'm going to come up and it doesn't really matter if it's straight or not because all we're using this for is an actual guide, just a gray boxes. So all I'm doing is just left-click, left-click, left-click, left-click in, and then just coming down other way. It wants to attract to the edges. If you all can attract by the edges, just hold the Control button and then you can actually go past it, won't actually be attracted. Hello control if you're getting that. Now I'm going to do is I'm just going to bring it down to here. And then finally down to here. Click on the last one. Then all you need to do is just press the Enter button and you'll see now you've actually got caught out of that. Now I can come in and look for the little point where the face is on CSI, you've got these little points here. Normally it's one kind of in the middle, like so. And now if I come out, you can see that I've actually got that selected. Let's put an object mode. You'll have a better idea of what I've actually got selected. You can see that sexually selected now. Now I want to separate the salt from this other part of the mesh. I'm just simply going to press P separate selection. And now you'll see if I press Tab to go into object mode. I've actually got two parts here now as you can, I just wanted to delete this last part, so I'm just going to delete it out of the way, like so. I'm also going to delete my reference. I don't need this at the moment, so I'm just going to select it, delete it, and then all I'm gonna do now, he's just turn this into something that more or less resembles a piano. So I'm gonna grab this actual part of just call out, press the Tab button, press H to just select everything. And then what I'm going to do is just press E just to pull it down like so. Now you can see the way that we did that is by pulling it down with E, which basically extruded it out. So extrudes it along this axis. You can also, if I go back, but we're just going to go back before we press E and extrude it. So I'm going to grab it again. Can see that as I pulled that down with extrude, it just follows that z axis. And you can also turn that off if you press zed, you'll notice now you've got freedom to actually move it wherever you want it. But generally I'm going to press that and lock that in place. I'm just going to pull it down like so. Alright. Now I wanna do is I want to bring this into play. So I'm going to bring this molar, first of all with the s bonds. So I'm going to scale it. And what I'm gonna do is I'm going to pull it rounds it. You want to check the scaling of this? Hey, does this grand piano is kind of the main focal point of everything. I want to make sure that my guy is able to actually play it. At the moment. This looks way, way too big. So I'm going to make it a little bit smaller. Because what you basically wanna do is you can imagine you guy sat on the bench now is you're going to be able to reach all the keys of the left and right. So to me, this actually looks round about the right size of what a grand piano should look like. So that's why I've actually done it like this. Now the next thing is I really want to get an idea of underneath it. So the high on here, just a gray box are a little bit easier for me to have a gold visual on it. So I'm gonna do is I'm just going to come onto the bottom of it. I'm going to press the top bone. I'm going to select this bottom face and then all I'm going to do is press I to insert. So if I press I now you can see I can insert like so. You can see what that's done is it's brought it all in like so. And I'm just simply going to press E for Extrude and pull it down to the floor again, like so. Now for me that's a much better visualization rather than something floating in the air. Now at the moment, I think I'm happy with the size. I might make a little bit smaller. So something like that. I'm happy with the high actually. So the height for me looks quite nice if he sits down here, isn't going to be able to play it. Maybe let's have a look if it needs to come down. Yeah, something like that I think's a little bit better. So I'm going to leave that there. Now the other thing is you will notice that the grand piano is at an angle. So before we actually move it around, I'm going to show you something else. So if I just move my guy over this way, like so. Then I come to my grand piano. If I press Control J, this is one of the main things that you're going to be using control lay basically resets all the transforms. So before we end, let's bring in a cube. So I'm going to bring in a cube. So shift they bring in a queue. At the moment, blend the nose, this is a cubed. Now the moment that I squish it down, so if I press S and scale it down like so, blenders still things. This is a cube, even though it's more squished. Cube blender believes It's still the same size as what you started with. Now that means that when we come to do things like adenine modifiers or scaling or many, many other things blend. There is still basing that on that original cube. What it means is that I need to tell blender, Hey, this object has now changed and you need to update what you know about it. So all the press is Control a, and then what that will do is reset all the transforms. In other words, it will reset the scale for Blender, the location, and also the actual sizing of this. You can see here rotation scale, location, all transforms reset. Then you'll see that always they actual orientation always goes to the sense of the world. All you need to do now is right-click and you're going to set origin to geometry, so that sets it to the center. The other great thing is now you've done this is what I can do is I can scale it. I can rotate it. So all said, and I can move it over here, like so. Now what will happen is I want, let's say I want to reset the scale. All I'm going to press Alt S and it will reset the scale back to what you had when you initially reset the transformations. If a press Alt, all, I'll reset the rotation. And if I press Alt G, it will put it in the center of the world for me. Well, that is exactly how you can use transformation as well in an easy way in case you're rotating Oscar and something. The reason I'm saying that is because I'm just going to leave this out of the way. We're actually going to rotate our piano rounds. So if I press Control a, all transforms, right-click origins geometry. Devon's go over the top and now I'm going to actually rotate it round because of my original scene. As you can see, that piano was actually rotate a little bit. Now I'm gonna do is I'm just going to press G and just pull it up near that wall. I don't actually want to in the wall, but once it pretty close to the wall, I can also say that's probably rotates a little bit too much. So I'm going to press on Zed, all wrote back from them like this. And why I'm doing it, doing that as well as is gonna give me a really, really nice view of that kind of other platform or upon there. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 8. Laying Out The Main Objects: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. Now think what we should do now if we look at our reference. So just pull up the reference again. I think we should create this part. Now. What we'll do is we'll just create it as a actual cylinder. And then we can cut it away and get a really good idea of how the room is going to come together once we've got that N. So let's do that next. So I'm going to do is, I'm simply probably going to grab this cylinder that I already created. I'm going to press Shift D. And what that'll do is it'll duplicate it. So you can see now I can move it with the mouse, right-click to drop it back in place. Now I can do is I can bring it up like so. Alright, now I can do is I can make it a bit smaller with S and then I can scale it on z. So S and Z, Let's scale it up a little bit. Let's go over the top now and let's put it into the place where it's gonna go. You can see at the moment it's way, way too small. So let's make it a little bit bigger. Like so because what we want an ideally have this says is moved out so that we can pull a stall on this bit. So I'm just going to move it down now just so it's above that floor. Pick my piano rope now. So it's basically on there. Now, what my guy in there and is able to step up beer and sit down on that actual piano. So I'm going to just put them there and then going to move it out a little bit because I can see that it's not the right size. What I want to do is I don't want this bit. I want this bit to kinda come round to this wall. So in other words, I want it to come around here and then cut off around there. So I'm just going to pull it out a little bit more. I'm just looking now to where actually want this to end. So it needs to be a flop big going across here. So I'm going to pull it back this way a little bit like so. I think that will actually look nice like that. Now the one thing I can say is that this needs to be a little bit closer over here. And this is basically why we grade books and out. So if I pull this over here, like so, and then pull my wall over right next to the actual piano. So something like that. Now you can see that's looking much better and we can cut this off kind of on here. So that's what I'm looking for. I'm also looking as well when I do that though, actually see how much room I went out for my set E and the things like the COVID in there. By doing this, it's just going to give me a really, really much better idea of what I'm looking at. Alright, so let's think about our city now. So if I bring my guy over, let's put him on the floor again. So I'm just going to put him on the floor like so. Then what I'm going to do is at the moment, I've got my cursor over here. I want to put in, I'm gonna put my cursor right where the guy is to make it easy for bringing something in, then I can actually do it from there. So if I press Shift S cursor to selected, then shift a, bringing a cube, and there we go. Alright, so now I can make this cube smaller. Basically wants it to be the right height where he's going to sit down. So generally, when you're doing anything like cities, I mean, he's never going to be able to sit down on that. So what I'm gonna do is I'm just gonna make sure first of all that my cubes at the bone. And then we're going to do is I'm going to press Tab to face, like grab this top face, then pull it down. And basically as seti generally is where the back of the legs out, this is how you would sit down. Some cities are pretty low and some alike appear a little bit. So he actually has to bend his knees and sit down. But that to me, looks about right now. The next thing is you can see at the moment, this is okay for one person, but we really needed a two person. Said t. So I want to do is really pull it out. So it's like double the actual length of this. Now, the way to do that, you can, you can even come in and just grab this. And then all you're gonna do is press S and X and then just press two. And it's just done a double the size of it. So now you've got an idea of this is a two persons, ETC. Now, the one thing that we didn't take into account is the fact that we need kind of bombs on here. So at the moment is a two person said t, but it hasn't actually gone the arms on that. So if I put my guy there, is it going to be able to sit next to someone else when he's got a normal peer as well. That's something that we need to actually take into account. So I'm going to do is I'm going to come in, I'm going to bring in an edge loop. Now an edge loop is basically going to be able to give you more typologies. Because at the moment, if I move this edge up, so if I bring it up, it's going to move the whole thing up and that's not really helpful. It's very hard to create oms on this. So I'm going to do instead is I'm going to press Control Law. This is an absolute now which brings another piece of topology into the actual mesh let you actually working on. Now at the moment, I can't do anything with it apart from if I press three on the number pad, for instance, you will see now I've got three edge loops. I can also use my mouse wheel to scroll them in. Once I've actually happy with amnion bringing in, I can left-click. Once I left-click, I can actually put these wherever I want them. What I want to put them right in the center. So to put them right in the center, or you press is right-click and then Blender will do the work for you. And don't worry because you can still bring up the number of edge loops whenever you want. I'm actually just going to turn those down to two. And you can also do a lot of other things with this, like even the mountain things, but we don't want to worry about that so far. Now I want to do is I want to create the arms fall my actual sets eight. Now at the moment. These edge loops are in the wrong place. I could go in and move this one and then move that one. But it's easier actually to use the Scale button to bring them out. So if I press S and X, I can actually pull them out like so. And they both pull out exactly the same distance from each other. Now I want to do is I want to go in and grab the tops of them, like so. And it basically wants to pull them all. But before I do that, I might as well put back on this set T because then that will also give me a good idea of what everything's going to look like. So if I press Control R, I'm going to grab another edge loop going the other way this time, left-click, and this time we're not going to right-click, we're going to move it just like so. Alright, so now I want to do is I want to bring this up. So I'm going to grab this one, Shift, select, Shift, select, Shift, select, Shift select, like so. I'm going to press E just to bring them up to give them some arms like so. Now Wednesdays, I'm just going to bring this backup as well. So I'm going to grab Joel says Paul Cressey, and just bring it up. Now you can see what a really nice set T in there. And it gives us a really idea of how this is all going to come together. Now the next thing I wanna do is I want to create just a small store for him to sit on because we've made a say you were miles will make a stool. So again, what I'm going to do is I'm going to press Shift S, S is selected, and now let's create a stall. So I'm going to press Shift a, bringing a cube. I'm going to make the cube smaller, like so. I want to bring it back then. And then I'm going to press S and Z just to scaling on that z-axis. And then again, I'm going to put it down to where he would actually say on it. So I'm going to round about here. You can see now it's a little bit too high, so I'm just going to pull it down a little bit. Now that looks to be the right size for a store. The store you can see you can fit his bomb on there, but it needs to be a little bit wider. So if we press S and X, we're just going to pull it out a little bit like so. Now again, the Stoll, I haven't gotten any idea of where this is going to go because it's kinda floating in the air. So again, while I tend to do whenever I'm building the gray boxes or use the insert. So I'll press Tab. They select, grab this bottom face, press the I band, bring it in, press E Then on a wall wants to do is I want to bring it down to the floor. So I'll press D and then clicked it. And now I'm gonna do is let my gizmo do the rest of work just to bring it down to four. Now this is important now because you can see I'm going to put this over where the actual piano is. So now I'm going to drag it over like so I'm going to press seven. Then what I'm going to do is I'm going to press all unsaid. So just to rotate it around that part. Now before it did that wall really should do is press Control a or transforms right-click origins geometry. And now when I press R and Z, I do have control of when I want to put this back the right way. Now I'm going to pick this up now to where it needs to go. So something like that. Then what I need to make sure now is come a guy actually get in here, is it can actually walk appear, and then come to the signs of the stall and then sit down. Think, actually, as we can see, that is about perfect. So he's able to go in there without falling off of error or something like that. The other thing is I want to move it kind of more in the center the moment it's over here. So all I'm gonna do is just press G over the seven, sorry, over the top. So seven scroll to the top, then G. And now I can actually place it where I wanted something like that. Now attend to honestly, if you building things out, try and just make things not even with each other. So pull it this way a little bit and you'll see that it's just better on the eye because it's facing a little bit of a different way. This actual stolen just makes things look a little bit nicer. So always take that into account when you're building anything like this. Alright, so the next thing we need to do now is we need to kind of split this away. So at the moment we're very happy with this easing out far enough. Is the piano out far enough and things like that. In other words, if you look on your reference guide, you will see that it's got like a bit of wood here. So I'll think what I'm gonna do is I'm going to shift, select this shift, select my stool shifts like my grand piano and just pull it out just a little bit more. Like so. Then what I'm going to do is now I'm going to work on my actual wall. In other words, I'm going to pull this bit out right near enough to the edge here and then pull this bit back. So let's do that. Now. I'm going to come into my wall. I'm going to grab the edge here. So to all the edge here, grab the edge and pull it out to just there, and then grab this edge and pull it back to joke around about there. Like so. Alright, so, so far so good. Now the next one, what we'll do is we'll get in all actual COVID, which sits on here. We'll put a small plant pot on here, so we'll have an idea of that. Then what we can do find that we can start working on how actual hi is this room. How big all the windows going to be? All this is a really good idea to do before you start actually anything. And then you can actually play around with the sizing and scales in real-time because we will be able to actually have a look at it with all lightened in place. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye. 9. Finishing The Basic Layout: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so the next thing we need to do is let's actually bring in our cupboard that's gonna go down here. And then what I can do is we can kinda cut this part away. And then we'll have what we need for because we need to kinda cuts it away. It's not. So it can actually pull it a little bit this way, so it's a little bit flat. So we'll bring in our cupboard first though. So let's again use our guy. So Shift S because it's a selected fifth day bringing a cube. Basically what we want to do is when I make this actual COVID high enough. So first of all, I'm going to shrink it in. I'm going to pull it down to the floor then like so then what I'm going to do is I'm going to pull my guy over, pull him down to the fall, like so. And I'm going to make this cupboard the highest should be. So you can see it's a little bit low. So the first thing we're gonna do is come to Face Select, grab the top face, pull it up, and then just make it a little bit higher and pull it back the right size. So I'm thinking something like that looks a good size for a cupboard. And then the next thing I want to do is just pull it out a little bit, like so. And this now is quite a big COVID. Remember as well what we're trying to base this on. You've got the aesthetic of the actual room. So the cupboards probably aren't going to be anything like from ikea or something. They probably going to be a bit more high-end. So they're going to be a bit more chunkier, a bit thicker, and things like that. Alright, so let's put the COVID ends place now. And then what we'll do is we'll decide if we need to make it a little bit longer. So it probably is going to want to be made a little bit longer. So let's pull it into place. Like so. Then what we'll do is we'll just pull it out a little bit more like so and just looking out close that is I think that's a little bit close to a wall like so. I'm thinking that is looking pretty nice. Now the other thing I'm thinking is, can I get away with making this a little bit bigger now or should acquire away first and then say a thing, I'm probably going to do it that way. So I'm going to do is I'm going to grab this. I'm going to cut it away from here. So if I press tab, what I can do is I can come in, I can grab this one and then the warm opposite. So this one and this one and then compress j. And what they'll do is they'll put me a line down there, as you can see. Now I wanna do is I want to think about cutting it the other way. So if I put it down here, Yeah, and then press J, like so now we've got this shape that we actually want it. Now I can do is I can actually come in. I can actually grab just this part here as you can see. Then what I can do is I can duplicate with Shift D and just pull it up very slightly like so. Now I can do is I can press L and actually while I can click on it first, then press L to actually select it all, and then press Delete and vertices. Now I finally walk can do is I can pull this back down now to where it needs to go, somewhere like that, and then press E and extrude it down back into law. Now we have a much, much better idea of what everything's going to turn out like. So now I'm looking at kinda move this up a little bit because we can see at the moment, this is a little bit, is a really, really big gap here, which I don't really want. I'm going to also pull it out just very, very slightly just to make it a little bit thicker like so. And then what I'm going to do now is I'm just going to pull it over like so. Now when I come back to my wool and I'm going to pull this wall over. So pull this over like so. And I need to make sure that there's gonna be a little bit of a kind of bit that comes out there. And now you can say that that is looking much, much nicer the more it did before. Now, the other thing I'm thinking is do I need to move all these up now? So in other words, can I get away with moving this up here, moving this set T or peer and then moving this wall appear a little bit to make it much, much cozy space, I think now that started to really come together. Now, again, now I'm gonna do is I'm just going to pull this wall out a little bit, like so. And I think I'm really, really happy with how this has turned out so far. Alright, so the next thing is, let's just put a plant pot and to have an idea of scale, I can also see that if I pull my guy over, he might be a little bit small. So let's draw plum pudding first. So all I'm gonna do is I'm going to use the cursor here anyway. I'm going to press Shift day. I'm going to bring in a cylinder. And we're going to do is I'm going to make it smaller. So I'm going to pull down the radius. So I'm also then going to pull up the height of it, like so. So every time I bring it in now, it's going to be set to something around here. We're just gonna make it pretty easy to work with. Now I'm going to do is just put my plant pot in here. So you can see fairly large this plant pot. So let's just make it a little bit smaller. Like so. And then one went to do. Now I'm going to want to pull this wall a little bit further forward of not quite got it where I want it. So I'm going to pull it a little bit further forward. Like so. Then we've got some panels on the wall as well. So we just need to make sure you can see now it's right up against that. So maybe a little bit too far. I think one needs to do is just pull myself back a little bit. So, alright, that's probably going to be okay. Now I want to do is just pull this. I want to make sure that this set is about right. So I think I'm going to pull it out a little bit with S and x, fully out a little bit. Make sure my plant pots in the place where I want it. This now is looking absolute perfect. This is exactly how I want it, I think. Alright, so now we need to think about the actual scale. So how tall is it going to be? So to do that, easiest way is to grab my guy, press Shift desk us to selected press Shift a. And we're going to do is I'm going to bring in a plane. I'm going to rotate this plane round, so all x 90. And then Walgreens do is I'm gonna make this into the window size. So if I bring in with us and then S and X bring it in. Now we can see that that is probably a gold good size for a window. Now, if I put this now over here, if I spin it round with all zed and 90, then I'm going to press E coli out. So going to object mode, Edit mode, make sure it's grabbed, press E then, and then we can pull it out. Now let's say if we put this window in here, like so. And then if we put it, if I just open up by reference, so I suggest you have a look at your reference. Then I'm going to put my window in here, pull it up a little bit, and let's have a look pull out guy over funding rounds. So all zed -90 it will be so always add -90. I'm just look in our fall, this is a bit too far out. So imagine him looking out of the window like so let's press shift D, bring in a new window. Like so. I think the only thing I think is maybe these windows need to be a little bit wider. So I'm going to press S and why? Well, this window out like so. And then one Wednesdays I'm going to delete this one. I'm going to move this one over a little bit, press Shift D to duplicate it, then just pull it out over here. Like so. And I think, yes, that looks pretty nice. Now, let's pull the top of this ball up a little bit because we don't want the windows clashing with it, but we want it to be something around that height. Then the other thing we need to think about now is how far is this ward going to be in? So you can see at the moment that this wall is coming all the way out here. So let's make, let's just grab one of these. It'll be easier. So Shift D, bring it over. And S and x make it smaller. And this of course, is going to be our painting. So S of Y, pull it out. Then I'm going to make it a little bit smaller with S on Windows, I'm just going to put into place where I want. Then. I'm thinking this wall at the moment is a little bit too far. In other words, I want it kind of this to be right at the edge of my piano. And this, these to be over, a little bit further over here. So I think I'm just going to move up just a tad. So I'm going to pull this up to here. Like so I don't want the piano touching that, so I'm just going to move it back, making sure everything's still fit in in place. And then one way to do is I'm going to now go to seven over the top, grabbed my set T, pull it this way. And then what I'm going to do now is pull this back wall. Pull this back wall little bit closer. Here, bearing in mind we've got a few panels. And then we're going to do is grab both of these windows. Want to put one window. There, may be one window around there. So that's looking pretty nice. I think that's going to look good for now. And we've got a picture on there. But all think everything's they will move this over a little bit. All right, thanks. So then we've got our little bit of room to kind of pull our, our actual seat where he's going to sit. Nice. Alright, happy with that. Now, let's work on the actual height of this. So we're going to pull it up a little bit. And I imagine this is quite an expensive home, So probably going to have quite a high ceiling. So what I'm gonna do is I'm just going to extrude this up. I'm going to press E and Z. They all black. So I'm going to do now is bring this in. So if I bring this in, like so, now we've got that slanted ceiling. And you could also have another ray lights on here. I think I'm going a little bit too high there, so I'm just going to pull them down slightly. I think I'm happy with that. And then finally I'm going to pull this out now. So it's going to be along the x-axis. So E annex, pull it out. There you go. Now we can actually put in our lights where they're going to hang. And we have a bit of understanding how this roof actually sloped around. Alright, so I think, I think I'm really happy with how this is turning out. Now, we can use some of these parts, especially when the floor and things too, help us change them from a gray box into an actual models. So that's something that we can already use. And the other thing is this plane. It gets kind of annoying having it there all the time. So I think on the next lesson, if I put my render on now, this is the idea, what we've got now we can see how nice that looks. I think on the next lesson, we'll hide this plane out of the way so angles keep seeing it all the time. And I think now we can actually go ahead. Felt really building this out. All right, everyone, So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 10. Refining Our Greybox: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Now I think the main thing that we need to discuss now is these collections. So you can see at the moment I can close all these collections are. Now the moment you can see we've got all these parts in here. Not really handy if we want to hide things, because all it's gonna do is just hide certain things out of the way. And if you can hide the collection, you can see it just hides everything. And that's not really handy for what we need. But we come up and we make a new collection. So right-click new collection, it will write down on the bottom, you can actually just close this salt but this little arrow. And then we can actually come in and rename it. So we'll call it lights camera. Like so. I'm also going to file and save my workout. And now I can do is I can make another one. And this one I'll call ground plane. So right-click again, ground plane, like that. And all this is just this ground plane here. Now I can do is actually come into my collection. I can grab my ground plane. Now the moment as you can see, I can't really see where it is without scrolling down. Well, if you hover over it and you press the little dot on the number pad, it will actually take you to it and then you can actually grab it and drop it in the ground plane like so. And now we can actually hide the other way. Now even if you come into here and press Alt H, so we can actually hide things. So we can press H, we can press Alt H to bring everything back because it's actually hidden in the actual collection. It means I don't actually accidentally bring it by Kim. That's really handy. The only way this will come back in then is actually by clicking on a lie that makes things, like I said, really handy and I scrub are some scene as we've got that and drop it in our lights and camera. And again, we can hide our soul. Now the way if you want that hit another way, if it's a little bit bright or anything like that. Also, while I tend to do as well as am I tend to make one for my human reference. The wall I'm gonna do is because it's going to right-click new collection, boil it all down for the human reference. And it just makes it much, much cleaner to actually work with it. Now I'll do is I'll put my human reference, which is one in there, like so. And then I can actually bring them in or hide him as I work along. Alright, so I'm happy with how that is now. So that's the collection is actually done. So now what we can actually go on and do is actually start cutting some of this away and actually start shaping this into where we want it and the windows and things like that. I think the best place to start them will be the floor and then the walls and get all of that and texted up, get the windows in, have a look where it looks like. And then we can finally start moving on to all the furniture inside. This is the way that I would work it every time I build a scene. And the reason I do that is because once you've got the walls in and everything like that, you can really see what sort of things you're going to need in the actual live, in that world that you actually creates him. Alright, so let's now go back to object mode. And what I'm gonna do first of all is caught this away. So I want it cutting down to here. Now, sometimes these don't line up properly. But what you wanna do instead is you want to kind of go over the top. I'm going to press Tab. I'm going to press a to make sure I've selected everything. And what I wanna do is I want to cut it kind of, as you can see going down here, because remember, we're going to bring this in and bring it up a little bit. So I kinda wanna make sure that my walls are thick enough just to come up to where it actually is called. So what I'm going to do is I'm going to cut it straight down here. Now the way I'm going to do is I'm going to come to where mesh, I'm going to come down to, sorry, mesh. Dissect this bisect tool. Once you click it enables you then to actually click, drag the line in. Now the main thing is that the moment this line won't be actually straight, normally tell which one it is because it will be the one that has the least on there. Now the good thing about this as well as this, we can actually move this up and down. Now we've caught it, and we can also set it. So basically perfectly straight by setting this to zero. Now this is perfectly straight and now we can cut it exactly where I want it. So I'm going to cut mine a thing roundabout here. Now you will notice because I've moved out with the gizmo. It moved it so it didn't actually work properly. So I'm just going to actually delete that off. I'm going to do it again now. I'm going to go to Mesh bisect down here. And then we're going to do is I'm going to set this to zero. And instead of moving it with the gizmo, I'm actually going to move it with this and then it doesn't actually break the measure. And then non-destructive is where it's cold, so let's put it there, like so. And the best thing about the bisector is I can also come layer the inner. Oh, I can clear the outer. Really, really cool. The other thing that's good is I can actually fill it in as well. So let's do all that work in a few clicks for us. Alright, really happy with that. I can pull this out if I really need to. And now I guess all I want to do is come to the back of this now and do the same thing along here. I'm going to do is I'm gonna come in to mesh and bisect. Let's cut it straight down here and you notice that it's already set on there from was doing it before. But I'm gonna do is now we're just gonna make sure I think, I think actually move this straight line, absolutely straight. You can see if I click on each one of these, they're actually out zero. So that's nice for us. Now if I come round. I can see that that's where it's cold, That's where the wall is. Again, that looks absolutely perfect. So really, really happy with how that looks. Alright, so now I want to do is I guess I want to work on my actual floor now I've done that. Let's come in now to the floor. And basically what we wanna do is we want to bring this in because we're actually going to be bringing this in. So we're going to bring these parts in. We basically what we wanna do is we want to reset transformation, so control a all transforms right-click. So origins geometry, Let's come into the face then. And now I'm going to do is use the insert. So I bring it in just a little bit, like so. And then what I'm going to do now is I'm going to bring up this part here. So if I come in and I press Alt, Shift and click, it will take you going all the way around. Now the thing about alt Shift and click is if you facing down this way, so you'll see Alt Shift click, it'll go that way. And if you're facing towards the edges, so shifts like alt, Shift click twice, it will grab it going all the way around as you say. Now I want to do is now I've got that is a one to bring it up. Just very, very slightly, just to make a transition from each of those. And finally then all I want to do is I want to press right-click and shade auto smooth. There we go. That's looking pretty nice. Now the next one I want to do is I want to work on this one here as well. Basically the same thing now with this thing, it will add another edge coming out here. So you can see that I need to pull it up a little bit. And then one wanted to do is I want to bring out a piece of here or that other than that, I want to bring I want to bring it in. So the easiest way to do it, again, we're going to research on summation, so control lay all transforms. Right-click the origin to geometry, and I'm going to press top from Dan's face, select, grab this face and all I'm gonna do then is present. I bring it in like so. And then what I'm going to do is I'm going to press. In fact, I need to press Control. Plus now the reason is it's too thick, so we have normal ways of doing this. Either I press Tab and then bring it down. Oh, I can actually do it a different way walk can do is I can press Control plus, and that will then increase selection. You can press Control minus on the number pad as well. And you can increase selection or minus selection. So I'm going to press Control plus. And then what I'm going to do is I'm going to pull this down just a little bit like so. And now I'm going to grab this middle Paul. And then we're going to do is I'm going to extrude it. So E, extrude it up like so, just a little bit higher. And then again, I'm going to press the eyeball and to bring it in. And finally then I'm just going to extrude it down. So extrude it down. Holding Shift bond. Something like that. Looks about perfect. Alright, now I can right-click and shade auto smooth. There we go. Alright, now all I need to make sure is that my pianos fitting in there. You can see we've got a little bit of edge coming over here. I'm going to move my piano very slightly. Not in the way their jaws pass there. Like so. And I think that's looking really good. Now, the next thing, of course, is that at the moment, this wall, it doesn't really have any kind of thickness to it, and that's something we need to fix. So what we'll do is we'll come to our wall now and just give it some thickness just to see what that's gonna look like. Well, I'm gonna do is again, I'm going to press Control a all transforms right-click the origin to geometry. I'm on my wall to come in now this way to actually start, you can see it starting from there. And then I just wanted to come in a little bit. So all I'm gonna do now is going to come over to my Modifiers tab, which is the spanner here, and modifier and the modifier we're going to bring in its solidifies. So let's bring it solidify him. And you'll notice straight away that this now has come from a 2D object belts to be 3D. And now the more you pull this out the mall actual list, kind of thickness you're going to have to you all. Now we don't want this wall too thick. You will also notice it does the same thing going all the way around. Really handy for what we're doing. Alright, so let's bring this a little bit. The other thing is as well, I think yes, it is. The moment I haven't gotten my cavities on for some reason, it's actually turn it off. I think it's because in layout, I had my cavity is on and in modelling I didn't. So I'm gonna do is I'm going to come up to this little arrow here. Turn on cavities. Now you'll say It's just, as I said, much, much easier to see what we're actually doing here. Alright, so I'm happy with the thickness of the walls. And the best thing about this is the moment. Don't actually need to change anything. Now you will notice that we do have a problem up here in that it's actually been, as you can see, let's just put even thickness on and then that's kind of isn't going to even that out. It doesn't look like it's evening now the moment. So I'm going to do, instead of doing that, I'm just going to turn off my modifier at the moment, like so. And then one way to do is I'm just going to separate this part out. It should actually come to that. But for some reason is it doesn't seem to actually be working properly against here. So what we can do is we can just press Y, separate that out, and then put this back on. And let's see if that's actually fixed. The I don't think that's fixed the issue either. Seems to be pulled it over there for some reason. But Benton, as you can see and I don't actually know why it's done that. So I went to separate. I'm going to actually move this over here and actually have a look at why that is done not a thing. It's just because it's bending this way. I've got to be very careful when I've actually done this. I'm making sure that these are going together properly. Let's actually have a look. So if I pulled that back with controls that have separate dial, let's say if a separate all of this out as well. So I'm going to press Y that play out. Now you can see it's gone to give a much, much better now. This is now separated out from this. And actually, I think that that is going to be much, much better. Like so what I'm gonna do now actually is I'm, I'm thinking to pull this up a little bit. This part here. In the end, it still goes along there as you can see. I'm just wondering whether to pull it up a little bit. I think what I'm gonna do instead of doing that is I'm gonna go back. And before actually separated this off, they can see here, I'm gonna go back to a point where I'm actually going to now press Control late old transforms right-click. So origins geometry. Let's bring it in again. A wide in, a solidify. Hope. Something like that. So thickness. And then we'll come around to this point. And the other thing it might be, it could be that also these are not facing the correct way, the normals. So that's something else we've got to check. So what I'm gonna do is I'm gonna put something down the right-hand side here, which explains normals little bit. But basically what it is is every object in Blender as a certain way it's facing. So if we come in on face orientation, you'll see that all of these objects, you can see the ones in red that basically facing the wrong way. And we need to turn them around the other way. Because what it means is if you send this through to games engine, the games engine, well, not understand which way the material is. And it'll basically be able to see through this piano because of the material is on the inside, not the outside. So they're all facing the wrong way. So lets just grab everything with a, let's press Tab. So let's press a, let's press tab. Let's press a again. And now it can do is turn them all around. So if I press Shift and it will just speed them all around, but can also come to them individually. Press Shift N, and then you can turn them around on the realm as well. Now you can see that's not really helped this. So what we're gonna do instead is I'm just going to grab both of these and we're just going to press Y, let them off like so. And now you can see it's actually fix that. I'm also going to pull even thickness on that we did before. And then we're going to do is I'm just going to turn off face orientation. Let's have a look with that. Double-tap the a. Now I can do is I can actually lift this up just to go on top of there. But actually I'm thinking I'll put it onto let's have a look. I don't think we can really see anything anyway. Yeah, I think I'm going to leave it like that too much hassle to wear, change and make it line up perfectly. So let's just leave it like that. Alright, I'm going to save, I'm awake and I'll see you on the next one, everyone, and hope you really enjoyed that. Bye-bye. 11. Marking Seams And Sharps Introduction : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, now the time has come to actually get some actual materials in here. So what I'm gonna do before that though, is I'm going to play you a short guide. A mocking seems a mark in shops. And these are really important when it comes to things like the violin or the piano. You want to really know how to mock seems to actually put on textures correctly, or mock shops to actually make sure that the edges always want them to be, even when you smooth them off, you still want to be able to have some edges. And so it's really important to actually learn these skills. I'm going to play this now. And if you already know how to mock seams and all that good stuff, then move on to the next lesson we'll be going through with actually mark in the seams. The process of actually mark in the seams for the floor. All right, everyone, so I'll see you after this. Welcome everyone to the short introduction to marking seams and sharps part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. You can think of like seams on a piece of clothing, like a shirt, all pair of trousers. The main job of seems is to make sure the texture that you're trying to place on your mesh goes on correctly. But more importantly, gives you control of how that texture will look. Sharps are more like seems, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles off on all measures. This makes them look realistic. It is also important. We do this not only for rendering in Blender, but also sharps carry on through trial the software or games engines we really want to use like substance painter, or Unreal Engine as an example. So with all that said, let's get started. So here we are in blend it with our starting q. Now if I click on my cube and go to my UV Editing, you'll see that the queue is basically unwrapped in this actual way. So basically unwraps like president. Now, if I come across and I grabbed this cube and I press Shift D, and then we press Shift Spacebar to bring in our gizmo and we move it across. And now let's say I want to alter this cube a little bit. What I'm gonna do is I'm going to press the top button. I'm going to go into face select, click the top face Shift Spacebar to bring in the move tool. Bring it over like so. Now let's say I want some unwrap this. Now if I grab this with L, just to grab everything and I press the U button for unwrap. You'll see that it own raps exactly the same way. Even if I reset the transformations of this, it will still on-ramp exactly the same way. Now, let's talk some seams and see how that has an actual effect on our actual loan wrapped. So let's grab the top and we'll come down to the bottom. And what we're gonna do is we're going to press Control League and then come down to where it says mock seams. Now it's important to remember that it's Control E to mock seams in face-like. But if, for instance we're in edge select, so if we come to this edge, if we press Control D, you will get this optional as well, mock seams, but you can also right-click in edge lights and you can also see we can mark this way as well. So for now though, I'm not going to actually mark the scene, what I'm going to do is I'm going to grab the whole thing without like so. And now wins press on rock and you can see it on ramps, completely different. Now let's bring in some textures so you can see what exactly I'm talking about. So if I press the top, I'll come up to my materials panel up here, and I'm going to give this material. So when it's come across to the right-hand side, click on my material button. So let's now bring the material I've already prepared. So if I come across this little down arrow cooling down, you can see I've got one here called Ward. And let's click back on. Now you can see what's happened. We've actually applied our material to this object. We can see it's pretty much a mess. The top of it looks fine, but little bit going around the side is all Ben and skewed. So if I zoom out and I press Tab now, you can see that the reason is that It's not actually UV unwrapped correctly. So how do we fix that? If we come up to edge select, let me grab this edge. And now I'm going to do is I'm going to right-click, come down to Mark seems. Now grab the whole thing again. And when I press U on rap, and now you'll see it unwraps. Absolutely fine. You can see that wards looking really, really nice actually on this mesh now. So what this does is the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is basically an infinite loop. So if I come round and I look at this face and this face, you can see that the going round, if we have now seen, when I talk about infinite loops, It's basically going around and around and blend. It doesn't actually understand how to unwrap it. So you'll end up with that mess we had before. Now the other thing to take into account is if I turn this around, for instance, while I'm going to do and when to come over to the left-hand side, the viewport of my UV Editing, press a to grab everything, all 90, spin it round. Now the other thing I want to show you is that where we join these actual seems up is also really important because you'll never ever get it perfect on here where there's an actual C. So let me exaggerate this a little bit. So I'm going to do is I'm going to press top. I want to make this a lot smaller and I'm going to move it into the center of my UV map. I'm then going to press Tab. Now you can see that these edges don't line whatsoever against this other side. This texture here doesn't line up with this texture. And the reason is because we've got a scene down there, is actual break in the texture. If we come around to this side, I spin this round. So if I grab it all 90 and now go to this one where we can see, you can see that these lines are perfectly. And the reason is because obviously there's no seem that the seam is here. So you need to take that into account on your own meshes and objects that when you're applying textures and materials that try and put seams where you're not going to see them. So if it's on a door handle, for instance, and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually mocking, it seems. So now let's this course shelves. So if I bring in a new primitives, so if I press Shift a, I'm going to go across the mesh. I want to bring in a cylinder. Now you'll notice that this cylinder has all these little edges around there. And let's say you want to make a cup or something. The last thing that you want is all these hard edge faces in there. Now there are all things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So Shift Spacebar, bringing my gizmo, move it out of the way. Shift a, bring in a, another cylinder. And this time I'm going to come down to where it says Add Cylinder and turn up the vertices to 100. And now you'll notice that we do have a round edge, but the problem is that we brought in 100 words is to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good-looking mesh. So how do we achieve that? Well, there are a number of things we can do. First of all, we can come across to this right-hand side. And what we can do now is come to where it says normals and click on Altos, move them, we can right-click on the viewport and click shades. Now you'll notice it's actually been smoothed off. But the problem with this is if I turn up my auto smooth, you can see that turning up all the way, it goes really, really funky. And that is because at 107 degrees, blended decides that these edges along here needs moving up. So it doesn't give us a lot of control if we do this on the other ones have grabbed this one, right-click Shade, Smooth, Altos move on. You can see again, even with lower amounts of polygons, were still able to smooth it all. But if we turn this off, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now press the Tab button. Welcome to the top. Grabbed the top shifts like the button press Control E because we are in Face Select and will come in a macro shot. Now you'll notice if I press tab that now it's got hard edges on that. This gives us control. So this is why we actually use sharps. No matter what I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we marked. We can also mark shops around the edges as well. So if I grab this one and this one, now because we're in edge select, we can right-click, come down, market sharp, press the Tab button, and now you'll see you've got hard edges on that. So it's very important that you mock shops where you're going to actually warm hard edges. It's also important that you get into the habit of marking sharps when you're actually marking seams. And then what happens is when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some meshes like this. Okay, everyone, I hope you enjoyed the introduction to marketing scenes and sharps. And as they say on with the show, Welcome back everyone. I hope you enjoyed that and thank you for watching and hope you learned a lot. So what we'll do now on the next lesson is mark in the seams on our floor. All right, everyone. Bye bye. 12. Working With Texture Maps: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And in the last lesson, you actually should've learned then how to mark your seams on your own actual scene. Alright, so let's come to the floor here. I'm going to grab my floor. And basically what I want to do is I want to isolate this away from everything else so I can actually work on this all I'm going to press Shift H and that then will isolate out, hide everything else. And even if you put it on rendered view, you will see that the song is, the song is actually there. No, actually I don't think it is. If I press Alt H, I can bring everything back. So it's just selected shift H to hide everything else other than the selection of the way. Let's put this on object mode. And then what we'll do is start marking some seems now. So basically, I'll come to the top of it. I'll press Control E because Right-click will not work when you're in Face Select. So you need to press control Lee and then moccasin. What I'm gonna do then is come down to the bottom. I'm going to delete out of the way because I simply don't need this bomb face on here. No one's going to ever see it. So we don't actually need that. And then what I'm going to do is I'm going to come now and actually mark some seams around here. So I'm going to press Alt Shift and click going all the way round. Shift-click going all the way around, and then right-click and moccasin. Now the thing is that we were not going to have an infinite loop going over here, but we will have an infinite loop going round here. So you can see it'll just go round and round and it won't actually unwrapped properly. So I'm gonna do is condense each of these corners. Hold Shift, click on down to this corner, alt Shift click, come around to this corner, alt Shift click, and then finally, right-click and arccosine. Now this should be ready now to actually drop textures on. So what I'm going to do is rather than just put the textures on, I'm actually going to play you another video. Now, we're just gonna go through the kind of texturing process, what the maps are there for, how to bring them in. And then on the next lesson we'll start actually again, some textures on here. All right everyone, so I'll see you after this. Welcome everyone to this short introduction on important texture maps and creating materials within Blender. Here will be going through basic materials setups and easy ways to import your texture maps or within blender. Then we'll be moving on to an explanation of what maps do and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will say that I've got these three objects and the role UV unwrapped. So now let's come to our first object. And let's say we've already marked all seems as you can see. Now let's come up to Edit. First of all, what we're going to be bringing is a add-on called Node Wrangler. And this is going to make it very easy to set up materials within your scene. So let's come to edit, come down to Preferences, come over to where it says add-ons. And then we're going to search for node N 0 D, E. And you'll see one called Node Wrangler. Make sure that's ticked on. And then let's close this down. Now I want to do is actually create our material. So if we come over to the right-hand side, you'll see this little football kind of icon. Let's click on the plus. And then what that actually does is create a new material. And let's click New and give it a name. Let's call this would because I've already created award, it will come up as one.001. If you've got a zeros or one, it will come up as wood dog 002 and so on. You'll notice as well that this has come in as a principled be S, D, F. And this basically is the magical node shader within blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this button here. Once in the shading panel, you'll see basic setup, same as what we had in the modelling panel. And now if I zoom out of here a little bit, you'll see that we've actually got a basic setup already. So we've got all material output. And of course, this is where all the nodes end up in the end. Then we've got our principles, which is what I told you about, is the magic kind of blend the node. And if we zoom in a little bit, you'll see we've got all of these things where it can plug things in or we can mess around with these without actual map plugged in. So now let's come and click on our principal, BSD f, and what we're going to press Control Shift and t. And that then will open up the file of where you want to actually find your map. So make sure you store them in a place where you know where they are going, find them, and then you should end up with five maps. Normally it's five maps. Actually you can download. One is the base color, the next one down is metallic. Next one down is roughness. The next one down is height. And then you've got normal. They're normally the basic five maps. So now what we need to do is, and he'd come to the first one and shift select the bottom one, and then that'll select them all. And then come over to where it says principled texture sets up and click down. And there you go. The bowl actually come in. You'll notice blender is automatically set everything up for us. This is part of what the No granular actual dose. Now if we zoom in a little bit so we can see what we did. And now we can actually go through some of these nodes over here. So let's zoom into here as well. The first one we've got is texture coordinates. Now basically this node tells Blender whereabouts to place this texture on this object. So you notice that the moment is basically clubbed in from the UV. Now, if we quickly just go over to the UV and I grabbed everything, you can see this is our UV map and this is how basically this texture is placed on this. So for instance, you can see that this one has been turned round. So it's going the correct way. Now let's go back over to our shading panel. And if we plug in the generated instead, so the vector, let it load up and you'll see now that blend is trying to generate how this texture is actually gonna go onto this object. This is useful when you create textures within blender itself without maps, but useless if you're actually bringing in your own map. So let's put it back on UV. Next one them across is called mapping. And this basically is how this texture is mapped onto this object. So you can see here that we can actually move the location of our actual texture. And this basically is kind of moving the UV map. Now if we call me, can also scale this up as well as you can see so you can stay lit smaller and bigger. And it gives you a lot of control within actually the shader, to mess around with the scale and things like that. Normally, I would actually do this in the UV map. But if there's any small details that I want to make, a little bit smaller or something like that. I will do it within the shaded. Moving across, you can see that all of these nodes over here, which are our maps, are plugged into our mapping node. So let's come to the first one. The first one is color. And basically down on the right-hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the blender website and find all of the rest of the information out about all of these maps that we're talking about. So as I say, the first one is the color. And if we unplugged that, it's basically what we can say is it's just the base color. Now, sometimes you will get College where they come in with ambient occlusion. And I'm going to talk about ambient occlusion just in a few minutes. So if we plug this in, we can see, we can actually alter the color with other nodes that we can kind of slide into here. So I'm quickly going to show you that. So if we press Shift a, do a search and we'll just bring in a gamma, which is just going to lighten or darken all actual color. Now, I've put that in, then you can see if I bring that down, I'll bring it up. I can make it much darker and much lighter. So that's something that we can actually do. And then Node Wrangler enables us to bring in a new node and just drop it in there. So I'm going to do now, I'm just going to delete that and I'm going to plug that in now to go on to the next map is metallic. So I'm just going to head on over where I've actually brought in a metallic texture. So here we are in our setup now with our actual metal texture and material. So if we zoom in now, we can see that we have the next one down which is metallic. And we can see that if we call them and actually unplugged that, you'll see that not a lot happens and this is because this metallic is very close LI based on the metallic that's already there, which is zeros, quite dull metal. Now if we come in and we turn upon metallic, you can see that it goes really, really, really metallic like so. And you don't have to actually use a map to make something metallic, or you need to do is turn off this metallic. Now normally when we're doing things like using this slider here and no map, even something is metallic. So if I turn this down or it isn't like so we don't really have anything in-between when we don't actually use in a map. So if we plug this back in now to our metallic and let it load open, There you go. Now the next one down is roughness. Roughness is basically if you think of a sheet of glass, when you look at it, it's not completely see-through. You might have certain scratches on there. You might have things like smears, Han mark, things like that. And basically that is what the roughness map does. Basically the roughness is determined by this map. So if I am plugged this map, you can see we've got a lot of the kind of shinier parts and duller parts on here. So let's unplug this and then you'll see that it's all one kind of shine. You can also see if I come in and actually turn the rough and assault alternate down. I can make something like ice or I can make something very, very dull. And this is why we use this map because it gives us a lot of control. How much smearing and things like that and makes it look a lot more realistic. So now let's move over back to our wood. And what we'll do is now we'll come down and look for all normal map. So if I double tap the eight quickly, that'll just highlight this. And then we can just zoom in a little bit and look what this normal map dose. As you can see, the normal map always plugs into a normal map node and then we can mess around with the strength. So if I turn this strength right, oh, you can see now we've got a lot more pushing through of that actual texture. Now, just be very careful when using this node. You can turn it up too high and it will, it will log. It won't look very real, in other words, so try and just get it somewhere where you're really happy with it and it still looks realistic. For instance. You do get some water which looks like this where it's really kind of elevated from the base. But I wouldn't go again too high with this. Okay, so that's the normal map. And now let's move to the displacement map. For displacement map, I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. So what displacement does is it basically gives this texture. It basically pushes it out. It's like using tessellation, as you'll see shortly. Well, the one thing is if you're using the displacement map, you really need to, well, you really need to know two things. First of all, it doesn't work in EV. Second of all, it really needs a lot more geometry than what you would normally have. So here we can see we've got a flat plane and we can see that they're slightly pushed up. And you can still see that this is a, basically a 3D texture. So how do we create displacement on this? First of all, we're going to do is you're going to come over to our little spanner. So first of all, we're going to do, we're actually going to sub-divide this a couple of times. So let's press tab and what we're gonna do is right-click and subdivided, right-click sub-divide. And now we're going to do is I'm going to press Tab and we're going to bring in and modify it. And what we've done now is basically increased the geometry a lot. So let's come over to add, modify it. You're going to come down to where it says multi-resolution. And when a sub-divide, sub-divide. And again and again four times. Now if you press Tab, you'll see that it's still actually looks like this. So you can't really see all the subdivisions on here. But when we finish this, I'll actually apply it and then you'll be able to see them. Next of all, what we need to do now is we need to put this on cycles. So if we come over here and we change it from EV and we put it on cycles. And then what we can do is we can come down now to our material, which is this button here. Scroll down and you'll see one where it says Settings. And under settings you'll have one that says surface. And what you need to do now is change this. It should say Bump only, change this to displacement and bomb. Once you've done that, then all you need to do is go to your cycles shader, which is this button here. And there we go. You can see now how actually realistic that looks. Now, you can actually mess around with these. So we can really, really bump up the scale as you can see. And we can also change the mid-level, like so. So it really push it out or you can rarely pull it in as well. Okay. So that's a bit of an explanation on there. Now as I said, I will move over now to the actual Spanner where a modifiers on, I'm going to press Control a to apply that, I want to press Tab. Now you can see just how much geometry not actually taught. Now you can get away with a little bit less geometry. So if I press Control Z and just bring it back and just bring it down one. So if I bring this down one, like so, and you can see that it's still looking quite good for if we put the viewport level up a little bit, it's nowhere near the level of this, so it will put it on three, press Control, press the tab bar and you can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, So the last thing I wanted to show you is if we come back to our material shader and we put this back on EVs overcome to our computer. I can't put it back on EV. And now we'll just scroll around and zoom in to this word. Now what does ambient occlusion do? So I'll pull a brief explanation down the right-hand side of what actually ambient occlusion is. What we can actually enable it by coming over to our computer, putting this on eBay and you'll have one that says ambient occlusion. When you click this on, you can see already that we really, really get much more shading on here, much more realism and things like that. Now as I said, you can get textures where they are. Ambient occlusion already built in, but I find actually doing it this way generally gives you a better result. Now the other thing you can do is you can mess around with the ambient occlusion. I'm really bringing all pulled down, mess around with factors and things like that. I'm really get the shadows that you really want on the surface of the actual object. So that concludes the material and texture introduction part of the course. And I hope you all got a lot out of it and have a much better understanding of maps and materials within blender. So with that said, let's get on with the show. Welcome back everyone. I hope you enjoyed that. I hope you go loud. Then. I hope now you understand how to actually put some textures on your actual models. And that's where we're gonna be doing now on the next lesson. Hi everyone. Thanks a lot. See you on the next one. Bye bye. 13. Adding Our First Material To Our Floor: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so what I want to do now is I want to bring in my material. So first of all, now we've actually marked all of our seams. I can simply press a and then unwrap it. But one first of all going to do is I'm gonna go over to my UV editing panel. And then what I'm going to do now, we're going to be bouncing between shading, modelling and UV Editing. At the moment you can see it looks like this. That's not ideal. Now before you unwrap the way you should always do, again, you should press top, go into object mode, control a, all transforms, right-click Sergeant geometry. Shift Spacebar. If you've not got your Gizmo in that then gives you an idea of where the origin is straightaway. And I can press Tab eight to grab everything and then you unwrap them. Should on-ramp really, really nicely for you. Now we have going to have some problems down the line. I can see that already because we've got this kind of rounded edge and we don't really want that. But what I'm going to do basically I'm going to come over now and create my first material. So we're going to come over when I click on the material panel, click New, and then I'm going to call this floor like so. And then what I'm going to do is I'm going to actually now go to my shading palette because at the moment, the flow comes in with a principal BSD F, which is basically like blenders, super shader, you're actually able to plug everything in. The other thing is, as I showed you in the actual short tutorial on textures, we need to come up to Edit and bringing on Node Wrangler. So preferences, Let's go to Add-ons. And again, these are all the add-ons that are built within blender. So all of these are free to use. No problem there. All of these should pretty much be available to you. Let's come in and do a search for Node Wrangler. This one here. Let's click the X bar. And now that's actually working. Can't see anything yet, but trust me, it's working. So now it can do is we can go over to our shading panel. So go to Shading. And here it is. We'll put this on material just for now, just to speed it up a little bit. We'll also at the moment we're on the world and we don't really want that. So let's come over and put it on to object mode, like so. Now this is our actual shader. So this is the principled, this is what ties up with our floor. Now, we have a conflict comments principled. Now while the Node Wrangler enables you to do is they'll enables you press Control Shift and T. And what they'll enable you to do then is bring all of those textures in quickly and easily. Now the thing is when I set up my own panels on here, I don't really like these. And these, we could use our UV meant the same time, but don't really like doing. I like them to have different panels. So all I'm gonna do is I'm just going to come up to the corner of here and grab it with the left mouse and then just pull it over like so. And then you just gives me more room over here. Again, I don't need to see all these files or anything like that. So I'm going to do is come up to the top one, pull it over to the left-hand side. And now every single time I click on this, now it will always look like this. And for me, I just find that much, much easier to work with. Alright, so now I'm gonna do is I'm going to select my principal, press Control Shift. And then what I'm going to do is I'm gonna go to my textures. Now you can see when I click on textures, if I open this soap that we've got seamless wood frame, we've got seamless breaks, couch, and seamless law. This is the one that we actually need. So I'm going to double-click my flow. And then one way to do is I'm going to select the first one, shift, select the last one. And now when I click this principled, it'll bring in everything I need. You'll notice this is only three actual texture maps here. We don't actually need a metallic because there is no metallic on this floor. So let's click the principled. There we go. Incomes off law. Now, I don't think I'm too happy with these round here because it should be a slightly different color to our actual floor. It should be the actual frame. I'm going to do is I'm going to come in like a new actual material, New. And then I'm going to call it a floor frame. Like so so or should I call it frame water thing? We'll call it frame would. Then I think it will give us a better understanding of what that is. So frame mode and let's also call this floor would just so we understand if wherever bringing this into into the blend file or anything like that, we really want to make sure we're naming them correctly. Alright, so now I want to do is come to frame mode. Again, I'm going to come to my principled, I want to grab it Control Shift T. And you can see how easy this is actually to do that. Now we're looking for is this one which is the wood frame. Double-click it and let's bring it in. So let's double-click it, bring it in. At the moment. You won't see anything happen. And that's simply because we've not actually got this attached to anything at the moment. It's sold this floor ward. So how do we actually attach the framework for the outside of here? All we need to do is we need to go in and select the parts that we want. First of all. Now the moment it's moving a bit weird because the orientation is not right. So I'm going to do is I'm just going to press the little dot on the number pad. And now I can actually move around the actual word that I want to say. And you will notice even immaterial mode, we do get the normal map showing through. We do have the sum of the lighting and things like that. If we put this as well onto rendered view, you'll see now Georgetown, nice, that actually looks alright. Going back, let's make it look even better. And let's come now and select the parts where I want the framework. So I'm gonna do is I'm going to come to Face Select, I'm going to select one of these faces here, and then I'm going to press L. And you'll know is that only goes up so far. Only comes up to where our actual CMS. It's really, really handy to mock seams and then use this to select the parts that you want. So I'm going to do is I'm going to select this one. And that's taught me all the way around. Select both of these with Al, al, and then select the inside ones. So the inside on here, L, L, and then finally this back one here, like so. And I'm hoping that everything's selected and now I need to do is come to my framework for cosine. Now you go look on us, actually looks, alright, still not done yet. First of all, the ward is way, way too big. These plants are huge, but let's go and actually sold out before we do anything else. And then we can start messing around with the other stuff. So I'm gonna do is I'm going to jump back into the UV Editing and I'm basically going to zoom out. I'm going to select my floor. So I'm gonna put it on material as well. So I just need to drag this across joule so I can click on them and serial panel drag this back then, like so. Now let's select our flawed. The moment is select our floor. You can see it appears in the UV panel. Then I can simply press a press the S bone and bring it out like so. Now the thing is, as I told you, this is a seamless texture, so you can see now just down nicely it looks if you're not happy with the direction, you can also come in and press all and rotate it around to the direction that you want. I think I'm happy with the direction minus. Now I need to do is I need to come and actually also fix these parts here because you can see this word and it doesn't look right. It's kind of very blocky and the low resolution, so let's fix that. So I'm gonna do is I'm going to come to my floor H to hide in a then to grab everything else, and then a grab everything over and you use your UV viewport. And that can simply press S, hold that out. And now you can see that's looking at, now we still have a problem. This going round here doesn't look very nice, so old. It doesn't look right. We need to fix that. And it doesn't look right. Also just in the inside here. So you can see on the inside here, probably doesn't look right on there as well. So let's fix the top of it. So what I'm gonna do is I'm going to come to this part here, press L. And one of us should do is it should give you the, basically the UV going all the way up to these points here, because we can see this uv is going the right way on both of these parts. So let's now straighten this salt. So it's a strange, Oh Paul, I'm gonna do is gonna go to you like my pack like okay, turns out well into a bit of a mess and then press you, follow active squads like okay, now you can see that that still doesn't look right because it's going the wrong way. The world grain is going the other way. All 90, spin it round. Now you can see that looks really nice. Okay, so let's do the same on the inside now. So I'm going to grab this one going the right way. So actually this has actually worked out pretty nice for us. So now we've checked up everything now should look absolutely fine. So let's have a look now what we're looking at, I'm thinking is this whole grains still needs, does it still need coming up to make it like this one here? I think it does. So what I'm gonna do is I'm going to come in, hide this one out the way with H, H to grab everything. And then what I'm going to do is I'm going to pull these out a little bit. So if I press S and y, sorry, x, you can see I can pull those out. Make the world grain a little bit thinner, and it looks just tons, tons nicer. Alright, so now we're gonna do is we're just going to quickly go back to shading panel. And what I'm going to do is I'm going to press Alt H, bring everything back like so. It will tap the a. I'm also going to come down and bring in my guy. So my guy stood there now. I just want to give this now a nice quick test just to make sure we've got Award looking right, making sure it looks kinda big enough on this. One I'm going to do is I'm going to come and put my rendered view on and have a look at this word. Now the first thing you can see about this, what is, it's the completely wrong color just doesn't look right in compared to what we have an old one. It needs to be much, much darker basically. Now let's come to our wood. I'm going to do is framework is here. I want to just pull out my material output. Hello, my principled. And what I wanna do is I want to put something in the color to make this much, much darker than what it is. It's woman do is I'm going to press Shift a search and we're going to use something called an RGB Curves. And then when to drop that in there, the moment nothing happens, but the moment I start turning the soap, you can see now we've got a lot of control over how dark this actually is or how light this is. For instance, like so, like so. Now I think Stein's look at this and thinking, okay, this is looking much, much better. And bring it down just a little bit. I don't want it to read, so I want it more dark or overhear. As you can see. Alright, that looks much, much better. And now you can see as well, they look at the actual gleam of the off of the floor. It looks like a really nice polished floor, but you can also see that this just looks so much better now. Now we've changed the colors. Now the other thing is we could saturate this down as well. In other words, if you're not happy with this redness, we can also do that. So I will quickly show you how to do that as well. So all I'm gonna do is press Shift a and I'm gonna look for one that says saturation. So you and Saturation drop that in there. And then all I need to do is I can turn the saturation down. Alternative. Clearly I've gone way, way to false. Let's just turn it down to one. That's what we had. Ten it down a little bit more, maybe one more. That means that the color that you want, I think for me, I think it is. I'm also going to actually just have a look at this one as well. Play around with this a little bit. Think that color like that is absolutely perfect. I'm really, really happy with how that looks. Alright, so that's looking really, really nice. Now what we'll do then on the next lesson, we'll start actually with this part here. We'll do the same thing as what we've done on the floor here. And then we can start on the actual one, the windows on the walls, I'll get all these paneling in. And that should take few lessons. And then once we've done that, we can actually start on making all of these objects are everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 14. Adding The Small Wall Details : Mike, Everyone's blend, the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so now I don t think we need on guy, we don't need them. They're no more. I'm what I also don't think is we don't need this onto a rendered view anymore, we just need it on material view. And also we might as well do this at the moment over in the UV panels. So I'm gonna do is I'm just going to hop over to the UV panel. And then I'm going to do is I'm going to press Alt H on the floor just to bring it back. I'm going to press Tab. I'm going to grab this piece here. Then I'm going to do is press Shift H and just hide everything else. Now the way I want to put it on object mode, just for now, just so I can see what I'm doing. And I'm also going to close this panel with T just to hide the other way. I'm going to pull this over a little bit and now I can really see what I'm doing on this part. Alright, so let's go in first of all. First of all, let's right-click. Make sure I'm shading smoothies on which it is. And then what I'm going to do now is I'm going to actually come in and mark them seem so again, a little bit like we did on the floor. So Alt Shift and click, Shift-click, Shift-click, Shift-click, like so, right-click and moccasin. Now let's come in and mark the seams going all the way round. So Alt Shift, click, Alt Shift, Alt Shift, click, and just work your way down to the bottom right plague, moccasin. Now, we don't need the bomb on here again. So if there is a bomb on here, select it, delete and faces. You should be left with something like this. Let's zoom in our UV map a little bit. Let's come over now. A to grab everything you and on-ramp. Now, i've I am reading that correctly. Did a reset my transformations. That's something I need to make sure I've done first. So I'm going to press Control a all transforms. Right-click the origin to Geometry tab again, and then you unwrap, and let's say you own route the same. So I'll probably did. It's always worth checking out. Now we've done that. Let's come on over and grab all materials. So braille material mode, moment you can see we've got no materials on there. The good thing is though, that we can actually bring materials while we're actually in this view as well. So if I press tab and come over to this little down arrow, and let's bring floor would. And then let's bring. Also, we need to click plus another one. We're going to click the framework as well. But now we've got exactly the same as what we did in the floor. Now I want to bring my flow back so I'm going to press Alt H and I can see exactly what I'm looking at. And what I wanna do is want to match up the scale of this flaw. So to do that, all I'm going to do is I'm just going to grab the top of here. Now. I'm gonna come over to my UV. I'm going to press a s, bring your whole kind of something I'm happy with. I think something like that looks about the same there. It'll get absolute perfect broad thing that's gonna be good for me. Now let's come back to my floor. I this out of the way a to grab everything and let's put it on frameworks. And because sine, now I'm going to do is I'm going to basically unwrap these separately so we can see I need to make them bigger first of all, so a spring it out, making sure that this looks the same as this. And you can see we do have a problem in night and just need stretching out a little bit so we'll solve that out now, the main thing we want to sort out is both of these kind of bits going round here. So this one and this one which is this here. So if I grab this, grab this, you can see that both of those are like that. Let's come first of all though, and grab it from here. So we're just gonna do this one first of all, now, you'll see why we grab it from here. If I press you, go to a light map pack click Okay, and then press U again. I'm down to follow active quads. Click Okay. And you can see it said that if a go-to follow two quads, it says edge length. Now, basically what I've done there, follow active quads means that it's follower in one after another. So he's taking like this one here and putting it in here. So now you can see that's what it looks like. Now let's do the same thing on this as well. So L, U, Lima, Okay? You follow active quads. Click Okay, exactly the same thing. Now the thing is you can't go in and just click on for like two quads because for some reason it doesn't work. I don't know why, but it doesn't work. But now, let's come in now. Make sure my love my wood looks correct, so I'm just going to hide those out of the way. And then when I press a so I've got everything I want I wanna do is I just want to pull these out a little bit with S and X, pulled them out a little bit till they look like you would on your outside. So you can see now the word kinda looks the same on both of these. Alright, so that's looking pretty nice. Now let's go back now to modelling. What we're gonna do is we're just gonna have a quick look at this, making sure we're happy with it. So let's put rendered view on. And there we go. That is our floor. These are all kind of wooden base now, again, don't worry if yours doesn't look right, just make sure that you're happy. You reasonably happy with it for now again, I'm going to grab this and just pull it down a little bit because it's a little bit stuck out on the floor. There we go now it's in the floor, but I'm thinking you can mess around this to your heart's content. It's more important to get everything in there. Get it looking really, really nice before you actually start worrying too much about whether it's this right shade of material or anything like that. Alright, so now let's go to object mode. I'm going to save on my work. Then what I'm going to do now is work on the panels. So we know that the dado kinda needs to go around here, probably going to have to move these windows slightly. So I'm Joel is going to move them up just a little bit like so. And now let's think about where the actual data is going to go. So I'm going to do is I'm going to come to this. I'm going to press, I can't actually press Control R because you can see at the moment we still got this solidify them. Let's actually apply this solidify just so we can actually work on this wall. So I'm going to press Control a hovering over it. Now there are a number of ways of actually applying modifiers. At the moment, I'm just going to show you control a or you can click this little down arrow and that will actually also do the trick. So Control a and then it's applied. Alright, so now I'm gonna do is I'm going to bring in now and then loop. So control law. And you can see the problem we have the year is that we, because we've split these walls, we can't actually make an edge loop going all the way round to both firms. So what we can do, I'm hoping. The other problem is you can see where this wall starts to appear. It's completely different from this one. So what we're gonna do instead is we're gonna press eight. I'm going to press one on the number pad null. I'm going to do is I'm gonna come in with mesh, bisect, bring game, and valine. So I'm going to first of all make sure it's set to zero, like so. I want to turn off the clear outer glute to turn off the fill because we don't need that. Then all I'm gonna do is I'm going to pull it off with this one here, around about there, like so. Alright, so now I can do is I can make my actual dado. Now, the other thing is yeah, I'm just wondering. Yeah, I think it's going to work like this. We can work like this. The problem is because we've split our wall at the moment, it will close a little bit of problems when we come to making all day DO on things like this. So just that to take into account. In other words, because now these aren't joined. For instance, if I press Control, be heavily, you can see when I bring these out, they're not actually going to come out together. That is a little bit of a problem for us, just something to take into account. Alright, so let's go back then and let's discuss why I'm actually going to do next. So the thing is that basically, it would be easier for me to join these two walls together. Now we've got our RM solidify in place or bring down this wall at least and join these two up. So I think that's actually what I'm going to do. I'm going to probably thinking whether I should join these walls to get refill, make it easier. It would make it easier in the long run. I think. I think I'm going to leave it for now. What I'm gonna do is I'm going to try and do it the other way. So I'm going to grab, basically I want to grab this and this. And then what I want to do is I want to press Control. Be mothers should do, is it should bevel things are instead what it does it on a flat services. It pulls it out really easily and gives you more topology to actually work with. So really, really handy, I want to pull it out to their left-click then just drop it in place. Now I wanna do is I want to extrude these out. So I'm going to grab this one and this one, I'm going to press E. And to extrude. I haven't moved it all. Be very careful that you don't move the mouse when you actually do that. And then press Alt and S. And you can see that we can bring these out like so. Again, one of the things that you will see is that they've not come out together and they've just actually crossed over there. As you can see. That's not like perfect topology over there, but we won't be able to see it when we put this on, as you can see. So we can't actually see anything. That's okay. Now we want to do is you want to bring game one more edge loops. So control all left-click, right-click, and then do the same on this side. So controller, left-click, right-click, and then I just want to bring out the bomb of these now, exactly the same way. So if I grab this one, this one, what I'm gonna do now is wondering if I've pulled those are a thing of pull those out a little bit to false. I'm just going to put them back in. So old tests, put them back in. In fact, what I'm going to do is I'm just going to show you a different way first. So we're going to do is I've got these two graphs. I'm going to press E, enter without moving it, old senesce, pull them out very slightly. Like so we can see now it looks much better and just make sure several or cover or not correct, it should be offset even on, there we go. Now it looks bad. Alright. Now it looks much, much better. Now let's do the bone. So control law, left-click, right-click, and then control law, left-click, right-click them. Let's grab both of these. Same thing again, E, enter without moving the mouse. Then alternate alt, S, holding Shift button. Hold them out life. So there we go. That's looking pretty nice. Now what I need to do is just make sure that my furniture not enough thing, thing for this because there's gonna be some panels. So I'm going to have to make sure that I move this over here. I'm also going to have to actually being under there is really nice. I'm happy with that. That's absolutely fine like that. Alright, so now we need to do the same thing on the actual bottom of this part here. So we'll do the same thing. So I'm going to grab my wool. Then again, what I'm gonna do then is go straight on and we're going to use the actual bisect tool to actually make the bottom dado of this. And then what we'll do in the next lesson, as well as just work our way up into these parts here to get them exactly the way that we want them. All right, everyone. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 15. Finishing Our Room Design: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms, and that's where we left off. Now, the painting is bugging me a little bit, so I'm just going to pull that up a little bit so it fits a lot better on there. And now I'll do is I'll think about doing this bomb bit. So what I'm gonna do is I'm going to press one on the number pad. I'm going to press Tab to go into it, a to select everything. And the reason I select everything, by the way, is because with the basic tool, you just have to be careful if you don't select everything, what's going to happen is it's only going to cut through the parts that you've got actually selected. So that's why I'm doing that. The other thing is I can see that this is kinda dropping through the floor. Don't really want that. So what I wanna do first of all, before I actually use the bisect, he's just pull this up a little bit. So I'm just going to grab both of these and just lift them up just so they're in there a bit nicer. They want to press a to grab everything warm. And then I'm going to come in with my bisect tools, mesh bisect, and let's drag it across like so. Again, the first thing you want to do is just make sure it's straight so you can see no point, no, no To make sure it's straight, zero. Like so. Alright, now I want to do is I want a bevel these off again. So I'm just going to grab the front edge, select this one and this one. And then we're going to do is I'm going to press Control B. Hold it out. Like so I think something like that should be adequately enough space to actually get that kind of aging in there. Now what we're going to do is I'm going to select this one, this one, and basically do the same thing that I did with my other ones. So all it wants to do is just pull this out a little bit. I'm just wondering if that's a little bit thick. Maybe it is. I'm just going to pull it out slightly. So I've gotten both grabbed and to alternate this out very, very slowly holding the Shift bond, maybe something like that, then one wins. Do now is going to press Control Alt, left-click, right-click, and same thing on this one. So control law, left-click, right-click again, come in, grab this one. This one. Then I'm going to press enter Alton S. Let out very, very slightly like so. Finally, I'm going to do on these ones is I'm just going to pull them down a little bit just so it looks like a skirting boards. So I'm going to come in, grab both of these. Just drop them down. Just a little bit. Like so. And you can see now that that looks very, very nice, fitting in with the actual scene. Fine. Let's just make sure that nothing's touching. So we'll just have a look at our C all set T is slightly, slightly over it. So let's grab OC and just pull it out a little bit. Let's look at the back of here, making sure our cupboard, which you can see, it's coming out a little bit now. So here we go. That's looking much, much better. Looking at where the piano is. Do I need to move it maybe a little bit, just a tiny bit. And then maybe move back. I'll stall. Chose to Todd. Like so. Alright, Everything's fine in place. Really happy with that. Now, let's think about going up now. So we're going to come from here. We're going to have panels in this kind of, in both of these parts. Actually, I should rarely bisect them going all the way through. So the moment you can see we've got a line here. But on this one, this line is a little bit too high. And the thing is if I draw a chord, drop this line down. I think though, what I'll do instead is I can actually get rid of that line. So I'll need to create a new line for my bisect. So we'll do this a little bit of a different way. So I'll do is I'll press one again. I'm going to press a. And then what we're gonna do is we're going to bisect through that. So I want to come with mesh bisect, bisect through this just above that line, like so. Again, set this to zero, like so. And we should end up with a line like that. And that is what we can actually use now to create this part going into, into here. So now I can do is if I press Control B on this one, unfortunately, it's not really going to do a lot because we have another edge loop here and an edge loop here. Well, I need to do instead is I need to take these away from here. So I'm gonna do instead is I'm just going to grab them both. And then I'm going to press shift D, like so then I'm just going to pull them out and you'll see that if I pull these out, we end up with something like that. Now. Now I can do is I can actually pull them down. So if I press E and Z and pull them down, you can see that we end up with something. This. Now the thing is that these needs to be joined a little bit. So in other words, if I grab them both like so, and then press Shift H. So you can see at the moment that these should be joined here, not like this. The kind of naught together. And I really want to make these together to make it easier to work on. So what I'm going to do is I'm going to separate these. I'm going to press P selection, separate them off. And now I can come back to them. And what can do now is now I can actually work on them separately. So Shift H to hide everything out of the way and then walk under his. Now, I can come drag this up to here. So if I press seven and comb over the top now, dragged it near enough. It's like basically where the halfway point is here. So I'm just going to drag it near enough onto that point. They're like so near enough. Perfect. And then we'll do the same thing on here. Now we don't actually have to bring this back to here. All we need to do is we need to just grab one of these points, grabbed the second point, and then click M. And what you can do is merge it at the last. So if your major the last you'll see it goes down to that one. Same thing again. So shifts like this one, shifts like this one and merge at last and there we go. Now because these emerge now it means if I bring in an edge loop, so controller bringing an edge, you see it goes all the way around, which is what we want. Now, before we do that though, let's actually press Alt H and let's go back. You can see, because we pulled these out, they're not really where I want them. So let's actually put these back in place now. So Let's say something like that. And let's actually pull them back as well into the place where the needs to go. So then holding the Shift button again, something like that. And then walking there is now compressed control, a old transforms right-click the origin to geometry. And I'm just wondering, I'll bring in the solidified now. So bring in a modifier, bringing solidify. Let's pull them out now. So if a pull this out a little bit like so. Now you can see, now it's looking much, much nicer. We can actually pull these out towards the end of the wall once we've actually got them in. The other thing is, at the moment, you can see that this is kind of not following it along. It needs to be kinda pulled out a little bit because this wall is actually kind of not quite level. So he needs to kind of pull this out a little bit. If you look straight down there, you can see it's a little bit out of the way. So let's fix that. So I'm going to fix those because it's going to come into their tech select. I'm going to press Z, it's going to wireframe. And now I can just grab this like so because that again go back and solid. Now I should be able to just move this one out, make it more level. It's not that one. I think. I need to grab both of them actually. Let's have a look. Now. The bottom one is okay, It's just the top one. So Zed wireframe. Got one. There we go. I'll let out a little bit. Like so let's get it more or less, even though to get it even actually I'm gonna go over the top with seven that wireframe. I'm just looking at this line down here so you can see it starts all the way down there. I'm just wondering. Hold this back. Let's actually have a look at that. Solid as that pulled it back in place. I don't think so. So yeah, nothing that looks bad. I'm also going to pull it up a little bit as well. So I'm going to grab the whole thing with a and then press essence, add, pull it up a little bit like so, then I'm going to lift it all up now for switchable that window. Now I want to do is I want to pull both of these out now. So I want to pull this, this part least forward. So let's do that next. So I'm going to press back into Wireframe. I'm going to grab this one. Where is it? This one? Like so z back into solid. Now let's pull it out away from all this out. Okay, that's looking, that's looking how I actually wanted it. Alright, so now we need to kind of offsite so that we can make it thicker and pull it back. So you can actually do that with this solidifies. You can see you can offset it out a little bit. Now it looks like it's actually in the wool. Alright, That's looking good. Now I can do is I can actually come in and I can actually accept my solidify with Control eight. And now I can just make it go to where actually, where I want it on the wall, for instance, I can pull this out just before the wall. I think it's the best place to set this one. And this one's a little bit too far, so I'm just going to pull it. Finally. Now let's make the next part of it, which will be on the top. So control law, left-click, right-click. And I'm thinking probably another one or p and then bring it out slightly. So control law, left-click, bring it up just a little bit like so. And then what we'll do is we'll grab this one. This one, press the enter, an alternate and bringing it out very, very slightly. So I'm just looking to make sure that looks even their bills. And there we go. That looks very, very nice. All right, I'm happy with that. Now the next thing we need to do is we need to put on our top parts. So again, we're going to have some problems AFI press Alt H and bring it back in that we've kind of got one here and then one appeared. So what we need to do is we need to make a kind of a wood, sorry, we need to make a another line going across there. So if I grab all of this one, press one. What I wanna do is the bisector all again, so I'm going to press Add wireframe. I can see that the line needs to come from that. So from right from the bottom of here. So we're going to do is go into mesh, bisect and then cuts it across like so this onto zero. Then Walgreen's to his jaws, then pull it down very slightly. There we go. Now that's going to make it so that we can make this really easy, this Bomba, which we'll do on the next one, because we want to pull in some panels onto this part here. So we've got big panel that's going to grow across here and a big panel going across here. And we want to make it as easy as possible to make these pieces of wood direction there as well. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye. 16. Adding In The Wall Panels: Welcome back everyone to blend of three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's make this, these actual new panels. So one wins do is I'm going to come in and I think I'm going to grab both of these. I'm going to press the eyeball and you'll notice I brings them in like that and I don't really want that. So what I want to do is I want to press Tab Control a or transforms because we have done a lot of work to this right-click. So origins geometry, and now let's try that again. Now if you press, I will bring them both in. We don t really well now what we wanna do is press I again and bring them in separately. So we want to actually bring them in separately. But the problem you can see, well, first of all, they're not really coming in the way that we won them. You can see here is probably making them a little bit too thick and I don't I don't particularly one that it's not actually working the way that I wanted it to. And it's probably because this part of the wall isn't actually joined in the way that I wanted. So I probably need to join these two parts, soap, and then it will actually probably go the way that I wanted to put a little bit hidden beneath here. So actually we need to fix that as well. So I'm going to do is I'm going to press one. I'm going to bring in my bisexual again. So mesh bisect lets cuts it across here, like so. And let's drop it down just the bottom of this dado here. So just below it that is so I'm going to probably some zero, like so. When I bring it down then just below their legs. So, alright, so now I want to do is I want to come in, grab this face and this face, base press Shift H. I wonder what I would do is I want to join these two up together. You can see at the moment they're not actually joined. And that's going to cause us some problems. So what I'm gonna do is I'm going to grab this one and this one, go over the top. And then now I want to do is I want to pull it in line with these two here, these two points. So if I pull it over d, We can get it near enough at the right place. And then what I can do now is I can join these two up together. So if I come in from this one and this one, again, you can press M at last, then this one, and this one here, M at last. There we go. Now, we should be able to actually do some work on this. I'm hoping if I press tab alt H, bring everything back. Now if I come into both of these and I press, I should now be able to bring them in perfectly with each other as you can see. And now they just look a ton better as you can see. Alright, so now we've got that they're less actually make these kind of wooden panels that we're going to have in the wall. So the thing is we want to bring these out or in. I think a minor wants to bring them in. So I'm gonna do is I'm going to press E, enter alternates, bring them in, then you can see it can hold Shift, bring them in just very, very slightly. And then one wins do is I'm gonna press, I again, bring them in. Like so. And then we're going to do is I'm going to press E and two alternatives and then bring them in again. Like so. Not a thing looks really, really nice. So you can see now we've got some really, really beautiful paneling on there. And that's what we're looking for. So we've got paneling going all the way down here, making it look like one of those homes. That's not a lot of money spent on it. And that's kinda look, I'm going for in this one. Alright. Now that we've done that, basically now we can come in and actually start texturing it so it can have white walls and we can have some paneling which will be the same panel is, is this would actually going round here. So let's actually start on that. So I'm going to do is I'm going to select my walls. If a press Shift H should be able to hide everything else out of the way. And now let's think about, well, actually do the white walls first and then we'll add the paneling on top of that. Now there are other ways as well that we can actually unwrap it. And we're going to discuss these now. So they just speeds up the process a little bit. So I'm going to do is first of all, I went to press Tab. I'm going to grab everything on here. And all I'm going to do is press U and smart UV project. And what this does is this is basically blender's way of actually unwrapping things. Now, a lot of the time you can actually get away with smart UV project. The problem arises when you would face in the wrong way or when you unwrap in a cylinder or something like that and you want the where the seam is to actually meet. So sometimes it unwraps into many different parts and it simply doesn't work. But hopefully on the wall it should actually work. So let's press smart UV project. The cocaine, Let's put materials on monuments. Do is first of all, bringing a new material and this will be my wolf. So I'm just going to call it walls. With this material. I'm not actually going to bring in any shaders, sorry, any textures or anything like that. I'm simply going to let blend to do the work. Now, just remember, if you want to actually export this out, it's something like SketchUp or something. You will actually probably need to pull a, a texture on there. I recommend if you're going to actually put a texture on this wall, I would use make a wallpaper texture or something. I think that'll look really nice for us. All we're gonna do is you're going to come to base color. We're gonna go to this little hex value here. And all I'm going to do is click it, press control V. And I want you to just to copy this in for now. So it's 97 capital a threonine capitally. Press Enter, and there you go. That is the color that you should have. It's a slightly greenish color and I feel like you're really, really goes nicely with what we're actually doing. I'm just looking around my matchmaking, saw everything right now we're going to do is we're going to actually create our ward. So the thing is just click where your actual you walls aren't going to be. So basically, you can see on here that pretty much this part in here, this part here. Let's hide those out of the way because we're not going to need those. This here, this here. Let's hide this here, going down here. Let's hide those out of the way. Let's also come in then and hide the back panels either way. So H hide those back panels by the way, let's come in and hide these out the way of these these here on the side as well. So hide those. Then we'll hide the top because that's also part of the wall. And then finally we'll hide, not finally, but we'll hide these parts out of the way as well. Like so. I'll also thinking we hide that. Yeah, I think we'll hide that as well. These two parts here. So H to hide those. This part book talks a little bit. Stop, but no one's going to see in there anyway, so we don't need to worry about that. We could even delete those phases if you wanted to. Let's hide this one out of the way. Then I'm looking around here. I'm thinking I'll keep these parts in. And I'm looking at the bomb wall now thinking which parts and he hide. I'm thinking I'll hide these parts out of the way. And don't worry, once we've actually brought this in your belt, see much, much easier which parts you need to do and which parts you don't. I'm also going to hide these parts out of the way as well. Alright, so we should be left with something like that. I wouldn't this one. We forgot that one. Alright. Yeah, something like that looks absolutely fine. Now, this here, this is our actual wall. And the thing is we need to unwrap this completely separate to the other bits. You can see kind of where this part comes out and goes in. So you can see my wall. It's probably going to come up to somewhere around here. I'm thinking I'm wondering where my wall or style. I think I'll bring in the world and then I'll be able to see where the wall start. So let's do that first. So let's see how that would turn out. So first of all, I'm going to do is I want to click the plus button, click the down arrow, click the framework, and then click Assign. And this is how my world has turned out. So you can see lots of problems here. Also say that I need to actually bring in a new material. So I'll do is I'll click plus new oldest brick wall. Like so. And then what I'll do is I'll select this part. I'm going all the way down. I'm looking. Actually that's the dado, so it'll be this one here. And I'm also going to select this one here. And then on the sides of the wall as well, a thing like toll these going on the sides all the way up. Like so. Alright, and then what we'll do is we'll simply click Assign will hide those out of the way. Okay, so this is what we actually will also do the buck as well. Yeah, we'll also give the back. Well, like so and I'll click Assign and then click Hide. And the other reason I'm clicking assigned, by the way, is because I can actually select things based on the material, which actually makes it very, very easy as well. Alright, so now let's go to it. So while UV map and see what mess that actual UV unwrapping is actually called. So you can see it's not actually unwrapped things particularly well. And that is sometimes the problem. Now, if I press tab control ALL transforms right-click sergeants Geometry tab again. And now you smart UV project click. Okay, now we've actually on rubbed them much, much nicer. All simply down to the fact that we didn't read, it all seems resets our actual transformation. Now we can see that pretty much on here. Everything looks good, except the resolution is way, way too small. So let's press a first of all, S bringing it out, and then let's pull them out as well. So if I press S on x, Let's pull them out. That's going to look like thinking that's looking pretty nice. Now if we go to here, we can see that all of these are going their actual runway. So I'm going to do is hold Shift and click, I'm going to go round now, alt Shift, click, Alt Shift click, and just look at the ones going the wrong way. This one here, hold Shift, click like so. Let's look at these, these actually going in the right way. So that's good. I don't think we can see them anyways, so that's no problem. And then I can come over to my UV and we can see now what's actually going on with, as you can see, there are all kinds of different angles and things. But what I'm gonna do now is I'm just going to press U and unwrap them. And now you can see that they actually looked tons. Tons bear from just a little bit of work like so. Alright. Now what I need to do is I need to make sure that the other bits I've got now. So if I click on, if I press Alt H, for instance, we can see that this should, should really be ward. But let's actually assign it to frame. I would like so. And then let's grab it. Make a little bit bigger, play out with holy out with S and X. There you go. Now that fits place. We'll do the same thing on here as well because it just simply download right, like that. So all I'll do is I'll assign it to the frame mode cosign. I'm going to actually own rap that again. So I'm going to grab both of these actually. So this one and this one, click you unwrap. We go. Yep, that looks up. So fine. A thing. I'm going to leave those parts as is. I'll think everything else on here. Oaks, absolutely fun. Just oven a good look round. I'm going to press Alt H, bringing back, I'll teach. There you go. You can see why they actually didn't look right, because I haven't actually grabbed that one reason. It's so actually when we're up this one as well. So all I'm gonna do, I'm gonna click, I'm going to press Tab Control. A right-click surgeons Geometry tab. You want UV project. Okay, they've known wrapped very well as you can see though, and actually need to do something. I need to pause semen here or something. So I'm going to do is I'm gonna come in, hold Shift click arccosine, right-click, and then I'm going to grab it all. And then you, let's see if they own raps this way. And so have a look as it unwrapped. You can see we have some problems in that. So before we carry on, Let's actually fix that. And I think the problems are caused by the fact, first of all, we've got are back on this. We don't actually need the bike though, this pipe going down here. We could actually delete it. So let's first of all, democracy, Alt Shift, click, Alt Shift click, right-click, moccasin. And then let's come round to the edges of this. Then Alt Shift click like so like so like Nope, right-click oxygen. Alright, not mine. Fine. Now and now let's click one. Hold shift. I'll right-click. And now let's try that again. So a on-ramp. Yes, that looks like it's somewhere up much better. Let's have a look then what that looks like. So I'm going to do is I'm gonna press tab. I'll teach and then going to join this to this board here. I'm going to press Control J to join them all up. And then finally going to do with this is I'm going to actually select all of this. I want to come in with Edge Select, grab an edge. Because then it will take it past all of those seams of malt and then click Sign, like so. Now let's look at that. That actually looks pretty nice. Yes, that looks pretty nice to me. Let's actually put it onto our rendered view. Yeah, that looks really cool the way that's turned out. Alright. I'm just gonna make sure everything's right before actually carry on. Because before we finish, we want to make sure before moving on to the actual wall, the other parts of it look good. So yes, I think at the moment, I've probably got yeah, this should be brick wall behind me are anyway. Oh, Kim random just making sure everything's right. Yes. Okay. Alright, let's put it back on material. Let's save our work and I'll see you on the next. And everyone, I hope you really enjoyed the course so far, and I'll see you on the next one. 17. Lets Add In Some Artwork: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off, alright, on the walls. So we need to make sure our walls don't correctly. So I'm going to do is I want to come in and we need to grab all of these going round base. I need some unwrap this going all the way round to there. So if I select this going all the way round here, hello. I'm gonna think it will select this as well, going all the way round here. I'm not going to worry about the corners in that because no one's ever going to see them. And then basically what I'm going do is I'm going to press you unwrap and it should unwrap like that. Then what we need to do is just bring in now all material. So I'm going to go to our shading panel when I come to my principled and click Control Shift and D. And what went to do now is far more Walt, which is seamless bricks. And bring all three of these in exactly the same as we've done before. First of all, we'll notice that the wrong way round. So let's go to our UV Editing. Let's spin this around. So a 90, and then let's make it much, much bigger. Make sense. And you'll notice because we've done it like that, the bricks actually follow each other round, which makes it really, really nice. Now if I press Tab now, I put this on rendered view. Now we have a good idea of what that's going to look. I can now is looking exactly as I actually envisioned it to look. You can see now pretty much we've got most of the if I double tap the ages so I can see what I'm doing. We've got most of the things, the actual structure in place, plus a t down a little bit ago, most of the structures in place. Let's bring in our little guy again so we can see now something like this is exactly what I'm actually going for. So hopefully you all look the same as this. Alright, so now let's think about kinda created. Let's create this, this actual piece first. So we'll create this piece of artwork over here. So what I'm gonna do is I'll go to modeling. And if you look on your reference guide, you'll see that this one on this side is an actual piece of Hollweg surrounded by a frame. And then this one over this side is just a piece of artwork, just a canvas. It's basically a canvas. So let's do this one first. So what I'm gonna do first of all is this is probably way, way too thick. So I'm going to press S and X and just squish it in a little bit. I'm also going to put this in object mode so I can actually see what I'm doing. And then going to press Control a or transforms right-click its origins geometry. And now I'm going to do is because it's not actually square this piece. It's going to be slightly in. So I'm going to do is I'm going to press S and x, sorry, S and Y, and just bring it in a little bit. Like so pull it out over this way. Thinking, yeah, that's going to look, that's going to look good like so I might need, I'm actually going to pull it out this way. Here we go. Alright, let's grab the center of it, press the eyeball and bring it in where the frame is going to be. And then let's press E and just pull it back. So we have actually got clear definition between the frame and the actual painting. Alright, while we're here, then we might as well separate the sole off. So in other words, if I press Shift H or Control J now all transforms right-click. So origins geometry grabbed the fronts of controlling malt seems. Hide this out of the way. And then we're going to do is come to the bank. Don't need the buck on that. So delete faces. And now let's just unwrap this because it's a really easy piece to show them wrap. So old Shift-click, Shift-click, hold, shift, click, hold, Shift click, right-click won't seem. And basically Gladstone. So I'll teach. Let's grab it all, press you, unwrap, and now let's bring in some actual metal. And so we'll put in, I'm thinking, have we already got the, We haven't actually used our Atlas yet. So we'll just put in them Atlas one. So I'm just going to call it Atlas one. And then I'll also bring in a whole. It's a painting framed like, alright, so let's deal with the atlas one first. It might be unless one in Miami analysts to. So let's have a quick look first. So, so if we're in our textures, you can see Atlas one is here. If I open this up, we can see we've got paint toward mike metal coated ward. What we're looking for is some frame, so I'm just going to see if there is actually one in my other ones. So I'm going to turn to Atlas two. Looks to be where the picture is, so we can see our picture here. I've gave you a few as well, which you might want to test it out. Now let's have a look at this. So this again tells us on here. So you can see painter would buy a piano surface. So we could use this paint and woodblock for our actual frame, which is I think what we'll actually use. So it's Atlas tool we're gonna be using. So we'll come in and we'll put it on Atlas to like so. And then what we'll do is now we'll actually bring in the material. So I'm going to unwrap it. So you unwrap I'm not sure if I did before. Let's go to the shading panel, control shift and t. So Control Shift T. And now you're going to find out how we actually use this atlas, atlas to Alice, to its atlas three. So I'll go in and change that. So it can see here that the ones I need to pick, we do have an Alpha in this one. The reason we have an Alpha in this is because this here is gonna be the fabric for the lights. So we basically want to bring all of these in, just grab all of them going along. You can see, because the atlas has also got some metallic in there, we actually need a channel for the actual metallic. Now it's also got a displacement. Now I'm not going to use this displacement, we don't actually need to use that. So I'm going to do is select all five of these and then Walgreens do is hit that principled. And we go, they should all be in. Now, let's make sure, first of all, should've looked in the actual alpha, which is this here, as you can see, the Alpha is actually plugged in. So once we do the line, we can play around with this. We're also going to name outlets three while we're here. 23 plus three, like so. Now what we need to do is just put this into place. But before we do that, we might as well do the painted frame. When it come to my principled Control Shift C. And let's go back, and it should be under atlas two. So let's bring all four of these. And oh, this is the overview. Actually we only need 123. There we go. Principles like so. Alright, and now let's set this middle part with Face Select onto painted frame, like so. Alright, let's go now into UV Editing. And let's zoom in a little bit. Then we'll do this one first. So this one, pint grab this L, G, s. So I think definitely the wrong way round. So all hundred and 80 round. Now let's make it in place. So S and y, g of y and S in the viewport of the UV map S like so. Then let's move it s an extra think it will be like so there we go. That looks beautiful. I'm just looking on this metal now. Let's sort them out loud. So I'll do is I'll come to this atlas. Then I'll hide this out the way. A2 where yeah, hit out of the way, but it's still it's still shows it for some reason. I'm not sure why. Then what we're gonna do is needs to come and change this over now. So basically we want it on that list too. Though. We've got Atlas, which will be this one here. So you can see this one here. And if you have a look, you'll see that you would is this one here. So if I press a G, move it into place now for S, the S button. So there you go. Low-carb, beautiful. That would actually looks alright. They're all going in the right way. That looks really nice. Let's go back to modelling now. I'll teach us check that out. The rendered view. Here we go. Alright, this is really coming together now, right? Okay, The next thing that we wanna do is these windows. Now what we need to do is we need to fit well. We need to create the Booleans as well for the holes in the actual wall. So that's what we'll now do. Let's put it onto modeling again. Let's save our work. And actually what we'll do is we'll actually create these on the actual next lesson. The one thing you have to be careful of when you do these is just make sure that the frame is the size of that this is now the whole needs to be slightly smaller than the frame. So what we'll do before going is we'll just grab both of these, make sure that we're on individual origins on here. If you don't do that, you'll see if for our medium point you can see it brings them both together. We don't really want that. What we wanna do is bring them in individually, like so like that basically. Alright, so what we'll do then on the next lesson is we'll create these holes in the wall, and then we'll create our windows and glass. And then finally we can start actually creating shelving and some other fun stuff except the room. All right, everyone, So hope you enjoyed that. I see on the next one. Thanks a lot. Bye bye. 18. Working With Booleans : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. I think one thing about these windows is a need to make them a little bit thicker as well. So I'm going to press S and Y and just pull them out against each other and then moves slightly over to this side like so. Now I'm going to do is I'm actually going to Boolean them through this actual wall. So if I grab my wall, press control a is normal, all transforms right-click origins geometry. And I'm going to do is come over to my little spanner and modify it. And then one way to do is I'm going to pick the one that says Boolean, this one here. Now hold the objects of the Boolean. I'm going to pick these. Now you can see that we do have a slight problem in that first of all, actually join these together. So women do is we're going to come back to these to press Control J and join them both together and then it will actually fix the wall. I don't know why I did that to the wall, but now it's fixed. Also. You might as well print them fast. This is the one that I normally put it on if it's not working. So I normally problem faster than than exact if that actually works, but let's just leave it on fast for now. Now I'm going to do is I'm just going to press Control a and actually apply that. So control a Era. So skipping apply and actually show why that's happening. So let's give this another try. So I'm gonna do is I'm going to add, modify it. Let's come down to our Boolean. Hello, Liam will be our actual Windows. Let's click fast, let Solver over press Control a, and now you can see it's actually worked. Alright, I think where it was this, I joined it midway through and then it didn't actually understand what was going on. So there we go. Now, it's actually waived if I pull these out, hey presto, we have actually window. So that's really good. Now let's actually create our windows. So I'm going to do is first of all, rob the front of each of these press shift D and bring them out like so. And then what I'm going to do, I'm also going to grab the, another one, press shift D and bring them out like so. Alright, so one more before the actual frames. One will be for the little tiny frames which hold the actual windows. Now in series, I'm just going to grab both of these back pieces and press Delete and vertices. And the reason I always press Delete and vertices is because you end up with their loads of little points. If you don't actually delete everything and the cold empties, the basically not serving any purpose. And so I try and delete those as I'm actually going through the process. Alright, so now with that done, let's actually bring these in. First of all though, I'll reach that my transformations like so. And then what I'll do is I'll grab each of these and I'm going to press I. In fact, the first thing we should do is actually make these bigger. So I'm actually going to make them make because at the moment you can see that the perfectly in line with the size of these and we don't actually want that. So I'm going to do is I'm going to press three palm to the side. And then what I'm going to do is I'm going to press S and just bring them out just a little bit. Now you can see when I bring them out, they're not quite thin in place as you can see, I need to do as well is press S and Y, pull them out slightly. And then one needs to do is I need to put these now into place just to make sure they actually fit. So I'm going to do is I'm going to grab, let's say these two first. So three again. And all I'm gonna do is move them sideways, making sure the fit. And then I'm gonna do the same thing, these ones here. So three, move them sideways. They can show they fit. Alright, so now we've got these now we can actually move them all out. Like so. Let's come to the front ones. In the front ones will be our frame. So if I press three again, I'm going to do now is I'm going to press I then like so, so they look kind of a nice size for the frames. And now I'll do is I'll simply delete the center of them. So delete faces, then what we can do is we can grab each of these frames now, pulled them out with e. So we go, now we've got some nice beautiful frames. Now, let's think about the inside. So if I grab this one and this one, what I should do rarely instead of actually doing it like this, I really want to make my windows so they fit properly. If I press, I now my actual windows are actually going to start from here. So if I press, I can say phi, bring them in, they're going to start right way pasta. So don't actually one, that's why I'm going to do on delete those faces. And then I'm going to come in, grab old Shift-click, Shift-click, press the F button that then we'll fill them in like so. And now actually I can separate those away from here. So if I press Y and then bring them out, and you can see now they're actually separates it off. Well, still part of the same mesh, in other words, Paul, the same object. Now I can do is I can actually bring in now my actual little frames that are in here. So if I press Control, left-click, right-click, left-click, right-click, and then control all going the other way to left-click, right-click, same on this side then to left-click, right-click. And now I can do is I can simply come in, grab all those press Three more can do now is press Control B, to bring in a little bevel, like so. Making sure that it's thinner than the surrounding frame. And then finally, what can do is I can bring these out now if I press E, pulled them out, like so, say that we've got a little frame there, like so. And what that means is welled up. We can basically split these off and fill all of this in if we wanted to. But that moment the way we go just to make sure that we can use these windows both sides. So I think we will actually do that. So what I'm gonna do is I'm simply going to press Control plus like so. And then when I press Y, and now this is split away from them. So if I press Shift H now, I can hide everything else now the way and hopefully I should be able to fill all these in. So if I come in, oh, Shift and click, press Alt F, Right-click mock scene, and then Alt F. And then I've marked to seem as well. So now I can do the same thing. Hold shift and click, right-click, Maxime, whole Taft. There we go. Alright, so they're looking pretty nice. Now the one problem we will have is that the windows on these parts, it will be going the same way and we don't really want that. So what we really need to do is mark numbers seem so I'm going to come in alt Shift click. And in fact, I'll grab this top one and go all the way around. So Control Click, shift, click, click, and then we'll do the same on here. Shift-click control-click. Same on this one, like so. And then Shift-click, Shift-click, Shift-click, right-click, oxime. Now it can have the ward going down this way. And then the word also going sideways this way because basically we split them up. Alright, so that looks good. Now what we need to do is we need to press Alt H, bring everything back. Now we should be able to drop all of these into play. So I'm basically going to grab my frames because they will make it easier and I can just simply bring them forward. Like so. Now you'll say exactly, lift, bring them forward. So now you can see they look really, really nice. Now I want to do is press Control a or transforms. Right-click the origins geometry and that's now bring them back, tell them into where they need to go. Something like that. And that's looking pretty nice. Now, don't worry about the box. They don't need to come all the way out. We only want the glass and really things like that there just to make sure that the light's coming in properly. So whether they're all the way back, just make sure they're relatively close, but they don't need to actually pass by it because we're never going to see that space there. Alright, so finally now we need to actually bring in some materials and some glass. So that's what we'll do now. So first of all, I'll come in and I want to basically press tab. And what a white base I want to do is have it the same material as this here. So if I grab my windows and then grab this, I can actually press Control L, and then I can link materials. And hey presto, if you go to your windows now, go to your materials. You bought floor ward and framework. Now we don't need floor would, but we just need the flame framework as well. There is a minus off the floor wood and now I need to think about the glass as well. So let's think, let's actually add in another actual theorem, and this one we'll call glass. So let's now actually you head over to our shading panel. And what we're going to do then when it loads up is we're going to delete the principled out of the way and we're just going to create a quick glass material. So what I'm going do is I'm going to press Shift a. I want to bring in glass, the SDF. And then when I bring in a transparent, so shift a transparent. So I actually wanted to make them a little bit of a transparent glass and just not glass. All right, Let's press Shift day. We need to join these together now, so we're going to bring in a mixed shader. And what I've done now is basically, I've given it a glass shader and then I've also got the ability to make it a color of the transparency as well, which is really handy for when you've got sunlight coming in because you might want it to be a certain color. So let's now go in. One going to do is I'm going to set the IOR down to zero. I'm going to set the color to, if I press Control V. Now, this is the color I want you to put in. It's triple F, seven BC, press Enter. And now I'm going to set the other color, which I'm going to get from the other reference I've got. So I'm going to come to my transparent. I'm going to set the other color to top-left, a3, a4. So then press Enter like sodas, both for slightly yellow color. Now I'm going to do is I'm going to plug this one into the top lobe, this one into the bottom, and set my FAQ onto naught point a. And this basically means how much of each one of these is going to be in the mix. So this one at the moment is mixed far more rain than the actual transparency. Finally, then I'm just going to plug these into my surface. Now what I should be able to do now, He's come in and grab my actual glass. So this glass-like so apply this glass, sign onto it like so now the moment nothing's happening, but the moment I put it onto the render view, There we go. Now we've got some beautiful yellow glass. Now if you want a blue sky out, then you want the, the glass not to shine through with yellow, then you can change it to blue or whatever color you like. Rarely, you might have a moonlight or something like that. But for now, I think that's what we're going to go with. Alright, so now there's just the actual wood left. So what I'm gonna do is I'm going to grab my glass when I press H to hide out of the way. I'm also going to put this on material mode because. I don't really need to see that. I want to press a warning to do is I'm going to press you smart UV, unwrap like so. Now I need to do is just fix all of these words. So if I come over now to UV Editing, and you can see this is a little bit of a mess, and that's not exactly what I want. I'm kind of hoping. I was kinda hoping, yes, this is at least has gone the right way. As you can see, this is going down, this is going sideways. And that is kinda what we're looking for. The only bits that are not making any sense here is, as you can see, this here is actually the wrong way. I'm just going to go in all Shift-click, Shift-click, hey, and spin them around. So a spin them around. So our empty spin them around like so. Now you can see we do have another bit of a problem in that these parts for some reason. So this is this part here. I'm going the wrong way as well. So I'm just gonna go in, grab them all with L and then just spin them around. So all 90 spin them around like so. All right. That's looking pretty nice now. But we've pretty much finished the wall except the panel, and we haven't got any paneling yet. So that's pretty much the next thing we want to do. So what we wanna do is I want to create a square panel that's going to be along here, along this side and then some wooden slats kind of going down as well. Now it probably would be easier just to put the word behind there. But I think we'll actually bring in some wooden slats. I'm just looking now. How much room? I've actually got all my dado they can see here, maybe there should be enough, we might have to pull it out. A little bit odd thing, but we'll come to that next. Okay, so let's go to where modelling. Let's actually just grab all of this and then we're going to press Shift H to hide everything out of the way. And then what I'm going to do now is work on bringing in some panels. So if I press Shift a, let's bring in a plane, I think first of all, why 90? Let's spin it around the right way. Let's press three so we can get it into the right place where once it pull it down over here, I'm also going to put wireframe on just so I can see where it's going. So you can see that we really, really want it to actually sit. So we've got like kind of a frame going round it here for pull it up a little bit. Now, I wanted to say really pretty much flush with those. S, like so. Alright, so we showed that the moment bell to get a few of these and we'll work out how big the slots are going to be once we've actually designed this bit. Alright, so now let's press Tab. Mall wants to do festival is I want to grab the center of it and I want to actually reset transformation. So Control a or transformed right-click origins geometry. Now press Tab and now bring it in. So this will be like kind of the paints award on the outside. So I need to do now is bring this out if I can grab each one of these. So I'm going to do is bring them out. So he pulled them out. So then what I can do now is grab the center of it three again. And now I want to bring this in. So the way to bring it in is if you press I again, bring it in, like so. Then what we'll do is pull this out. And then we're going to press I again there. And then I once more. Now what we want to do is grab each of these and pull them back. So E Oldham back to object mode. And you should end up with something like this, which looks like a really, really nice panel. So Altos move on. Now, as I said, the thing is also smooth, has actually got rid of these shops on it. I would like them by com. So let's come in. Hold Shift, click Alt Shift, click, Alt Shift, click, hold, Shift, right-click, mocker shell. There we go. They're actually back now, and that looks really nice. Now let's put this into place. Like so, so this is where my panels and they're gonna go. You can see that the problem I've got is this dado here. Sorry, the bottom part of it. I don't want to push them so far back. So you can see, I'm going to have to probably pull all of this out a little bit. So I'm going to do that now. Command, Control Plus going all the way down to here. Then one wins do is I'm just going to pull this out a little bit like so, and now grab the whole thing, pull it back so it won't go back anymore. Something like that. Yeah, that looks, that looks pretty nice. Now I need to do is bring out this data a bit because you can see it's hanging over the edge of it and I don't really want that. So what I'm gonna do is I'm going to grab this one. I'm going to press Alt and just pull it out. You can see when I pulled out, the whole thing is kind of coming out and that's not really great. So let's, let's actually bring that all the pop out as well. So I'm going to press now is Alt S out very slightly like so. Alright, let's press Alt H and have a look how everything is set up so we can see we've pulled these bits out now so we need to place everything, just make sure everything's working again and just check. Yeah, far it's coming out along here. You can see it's pretty much perfect. Just as COVID that needs to be pulled out a little bit, little bit. Well, I don't think that looks absolutely perfect. Alright, really happy with that. Now, let's come back to both of these parts. Shift H to hide everything out the way. Then what we'll do now is on the next lesson, because this has been a bit of a long run, is we'll add the tunnels go in the rest of the way over and round this bit here. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 19. How The Array Modifier Works : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. Now, let's actually make this come across. So I always think the best thing to do is to first of all, bring in a piece of wood on here lining up against it and then see how many of these we're going to actually need with the piece of wood a thing. Yeah, let's Let's actually see. So the first thing we're gonna do is bring in an array. So add modifier. Let's bring in an array. Now the moment is put it on front. We don't want that. So what I wanna do is press this arrow and then I want to bring it over the wire way that I want to increase the amount of God, so I actually get more in there. That is the question. In other words, if I put one more in there, I mean, could I rarely get those in? As you can see, we can probably get them in. It's just going to mean it's a much, much smaller piece of wood if I put it. So let's say here and then spread these out a little bit more. Like so. I actually think that's going to look really nice. All we need to do now is make sure that these panels go round the other side as well. In other words, the coming around this side. So let's press Shift D to duplicate it. Let's press all 90 or that again. So Shift D to duplicate all that -90. Let's put them in that way. The other thing is, I kind of want another, you can see that the not quite going to work out four on this side. So let's reduce this one down. What we'll do is say as well that pulled them out ghost. So then what I need to do is spread these ones out lobe. They lay, these one's a little bit wondering on these ones should have them a little bit thinner because you need to remember that you need a piece of wood in here as well on these ones. And I get away with three on these. So let's bring these ones down. Let's spread these out. How big those pieces of wood are going to basically be here. If I put them like so all the way that it's probably not going to work. The wall wanna do is I want to see if I can squish them in a little bit. So if I press S and why hold them in a little bit? All they're going to look bad now, like so, I don't actually think so. So these are all things that we need to contend with. While thing I'm gonna do, I'm just going to put those back together where I was happy with those ones. It's just these ones I'm not so happy with. Let's put it on four and then let's bring them in now. So bring them in and actually fit them in. I don't think on this one going to work like so. I think maybe on this one, I might have to squish these ones in a little bit. Thing that's going to be fine like that. Alright, so now I don't need one in there and I don't need one in here. So all I need is some would go into here. What I'm gonna do is I'm going to press. In fact, the best thing to do before we do anything else is to mark the seams on these things. But the thing is as well, when you're dealing with something like this, I think we have some whiteboard, so let's actually check that first before we go on anywhere else. So I'm just going to go to here. We've got silver on this one, so let's go to our other ones. So texture atlas one. Painter wood, here is our painted wood. So probably we'll give this a try. It might actually work because this looks It's got a little bit too much grunge in it. We could actually take that down as well, so we could make it more uniform the color. But the thing is, they actual, maybe the roughness is, maybe the roughness is okay on this. So I'm going to do is I'm just going to close them in it. Then what I'm going to do is I'm going to give that a try. I'm not even going to unwrap them properly. What I'm going to do is I'm just going to try grabbing them both. And there isn't a way actually of applying modifiers. And it's basically you can apply them as well. Modifier if you've got low pulse with modifiers on, imply them all at the same time. So if you go to Object, I'm down to convert and click on Mesh, you'll see all that disappears and all those modifiers have actually been applied. So that's something really handy to know. Now, let's join them altogether. Control J. Let's press tab a. You unwrap. So we're going to do smart UV project ramp. And then what I'm going to do is I'm going to come to my UV now. I'm going to grab them all. I'm going to make them smaller. And the one I'm going to give it is going to be the Atlas one. I think we have an adolescent and I don't agree that's this one. Don't think we brought the Alice wanting yet, so we'll make a new one and we'll call it out last one. So let's then go to our shading panel. Principle Control Shift T. Let's go back up. One outlets, one textures. We're going to select. All of these going down to here, prints bold. There we go. Now let's look at what these look like. So I think not sure if that's the word already. So let's have a look. This 1 ft I'm going to do is just grab the whole thing with edge select, probably 0. Then I'm going to press U ramp and say that sounds the room ramp. Now that might actually be okay. Let's also put this on Atlas one. For an atlas. The other one is this one here. That's pretty on the board. What it's going to look, Let's press Alt H, bring everything back. Yeah, I don't think I'm maybe maybe now I don t think it is. It's not actually the right one that I want. So I'm going to do is I'm just going to minus this off. I'm going to click New. And I'm going to call it painted panels. Like so. Then one wins do is just create my own. So I've got my roughness here, sorry, my base color. And if I put my roughness, so if I turn this down, we go thing that's going to look much, much bad like so. All right, I'm going to grab my panels again, press Shift H. Now, all of these panels should have this painted material on them. And it's also easy because we aren't even got to unwrap them. Because of course it's just the shader, this what we're using, which means we ain't got to worry about wrapping them or anything because it's just a simple shader. Alright, so now what we need to do is I need to go back to modelling, and now we need a piece of wood to go down each of these. So if I press Shift a, Let's bring gain cube. Let's make a little bit smaller. Let's press a three so I can go to side view. How long would it do all this down here in these panels and essence? Pull it down. So thanks, sure it fits. So lessons. Now find, let's call them and put it in place. But before we do that, we might as well read all of these parts that we need. Elite basis. S x in orange place, like so. Now once it's stuck out just, just a little bit. Then I press tab. I'll teach, bring up the back, rub it again. On Charles Lyell transforms right-click. The origin geometry should be able to just pull it in like so, and it should just fit like that going up to there. I think that looks perfect. Now, let's say I put it on material. Let's give this the wood material. So I'm going to do is I'm just going to grab this a you unwrap. And what we'll do is we'll bring in the material which will be all frameworks. So frame mode, Let's have a look what this looks like. That's the thing that's going to be perfect to make sure it's not poking out. They're not wondering whether the down. Maybe I do, maybe I do. Sorry if I pull this down, essence add up Ghana, think that actually looks much, much better. Alright, so what I'll do now is I'll grab this and my wall h. Now I want to actually pull this across. So all I'm gonna do is I'm just going to press Shift D, bringing it across. I'm going to actually press three. So I've got a nice view of where it wants. So something like that. They bring across making sure it's fitting in. And then shift the cross on this bet I know mine off fit improperly. All I'll do is in D. Maybe I need to pull this to the grabbed all of them as Perfect. Okay. Now let's grab this one. And then one Windows Shift D or -90. Place. This one. Going to face trying to get it to basically be the same all the way up to then shift D, bring it across in three, sorry. Yeah, one on the number pad. Object mode. They're a little bit too thick maybe on this one. So I'm just going to press S x. So something like that. And Shift D. And then I may shift D. Alright, now let's grab everything. So a Control J joining altogether, right-click, fatal, so smooth. We go. Okay, let's have a look at our panels here. The oldest shade, none. Let's press Alt H, bring everything back. Let's double-tap the a. What this on to rendered view. And we go, looks very, very nice. I'm really happy with how that's turned now. Now on the next lesson, actually finally store shelves and things like that. So that's really nice. So I'll think on the next lesson. What we'll do is we'll actually create our shelves or peer. Then we'll actually bring in just this they'll bear out with because I like actually bring in doing all the outside first and then doing the inside with everything else. And I think that's the easiest way to go about this. All right, everyone. So I'm gonna hit File, I'm going to hit Save, and I'll see you in the next one. Thanks a lot. Bye bye. 20. Working With More Complex Shapes : Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Now, let's come in and actually create our actual first kind of reference and shelf. Now let's pray on object mode. First of all, let's press one. So without width perpendicular, press Shift a. And what we're going to bring game is a image and reference. And the reference we want is this one here. So I'm going to bring this one in. And then I'm going to move over here. Now, you can see that on first, look, this actual shelf looks fairly easy to do, but actually it's something a little bit more complex than that. So what we really need to do is it would be easy to actually create these points in a really, really easy way. And actually there is a way of actually doing this. So if I press Shift a and I bring in a cube, just make sure that your cursor is right where your actual plane is. So Shift S to bring it in because to select it. And now you want to do is you want to press Shift a, you want to pick a mesh. You press top, you want to press a to select everything. Make sure you're on vertice select. Then what you're gonna do is you're going to M, merge and you're going to collapse them down. Now, you can't really see anything happening. But if I press now control and right-click, you will see that we've actually got appointed. Well, that's what we're trying to achieve it now before we do that, well, we'd better off doing is moving this point over this point here. Then one wins. Do is control. I click, go, right-click. Work your way over. Halts that you want trying to select it in the center of this though. So thanks. So now we're trying to do here is basically create the points that are gonna be the kind of circle that we actually want them. So I'm going to actually select the point here. And I'm gonna go up, don't worry, because I will actually delete the ones that don't want out. You don't actually need that many points to get really, really nice hair like this. Then what I'm going to do is I'm going to shift select this point. Moments do is I'm going to work your way around. You'll see this is really, really nice technique making things like the shelf. And basically I want to click here on this point. While wants to do is I just want to select this one as well, bone and then that will fill it in. Alright, so now I want to do is I want to click on this point here. I don't want to click, right-click. It doesn't matter if it's flat or not by the way, because we're just scraping this part around here. Then what I'm going to do is I'm going to Control click, OK, click. Just going all the way round. So I don't want one that's going to be pointing like so. Alright, so now I wonder isn't gonna come to my edge liked. I want to actually delete these edges away because I don't actually don't want this. Yeah, and all I'm going to do is press Delete and edges. You'll be left with something like this. Now at this point you can come in, tidy up any that you're not happy with this one. Kinda not happy with that one. I'm just looking to make sure they're all nice and level now, this one here, do I need another actual one in here? Think could do. So if you do need another one, name, drop them both right-click and then you should be able to bring another one in there, all nice and clean like this one here. Right-click. Bring one in. There. We go. Alright, so now what we need to do is you need to turn this into an actual shelf. So all I'm gonna do, I'm going to grab all of these. So a grabbed them in Edge Select and then All of them went to do is I'm going to pull them out. So I'm going to press E and y, hold them out. Like so. Then what we need to do is you need to now turn them into a mesh. So at the moment you can see the like this, I'm then going to press Control a or old transforms. Right-click the origin to geometry, and then I'm going to right-click Shade auto smoothing. You can see they're really nice and actual smooth already. Then one Wednesdays I'm going to bring in some thickness. Well, I'm going to do is with my little spanner add modifier solidified when a press once arms straight onto it again and increase the solidify them. So increase it and say that we do have some problems. Now these problems are caused by the Mesh not being the correct way. In other words, we've got some faces facing this way. Some face is facing that way. That brings me on something called normals, not done the bottom right-hand side here, I'll actually put what normal czar and law would say is that basically think of it as like this when you've been playing a game and you can see through something that's generally telling you that the shader is facing the actual wrong way. Generally, shaders, they face either inwards or outwards. They can't actually face both at the same time unless it's a double shader. Now using double shaders is very high on performance. So game devs tend to just use a shader which is facing one way. Now how do we see which way these shaders are facing? If we come up to this button here, these two interlocking bowls that conveys orientation. You can see that the blue, he's facing the correct way. Red is facing the wrong way. But if I come in now and press a to grab everything and then press Shift and you'll see that turn them all round. Now everything is really nice. Just got to remember. Now, let's come in and turn off our face orientation office. So face orientation there it is. And then what we'll also do is just make sure that this has long yes. Then what we can also do with the actual solidifies I've showed you before. We can actually turn down the offset so we can get really nice to wear it once it. And then walk can also do a second present wireframe. And I can now see where this is going to come up to the thickness. As you can see, I'm gonna come up pretty much the outside here. Now is looking pretty nice already. Now at this point, you can still come in and add in a, another edge loop for instance. So if we come in and let's say grab this one and this one, you can see that we just need to make sure that we grab them both. So all you need to do now, come in and press B, grab them both like so, then you can right-click and divide. Now you can come in, grab one of them, be, then you can actually pull this into the place where you want it. Now, you can go round and just make sure that you're happy with your actual cells. Don't worry. Any way you can tidy it up if you want to. Once we've actually finished it. Alright, so let's go to, go to solid, press the top bunk, double top the eye, and just have a look at your actual shelf so far, I think Maxwell shelves looking pretty nice. We can also pull it out once we've actually got the right scale for the books and things like that. So don't worry about the width or anything right now. Alright, so now we've got that. Let's now bring game another plane because it's easy to bring in a plane because we can give it the actual same thickness. Well, I'm going to do is basically going to bring in a plane. In a plane I'll come in here. So Shift day, Let's bring in the plane and let's make it a little bit thinner. So S Phi in Nala wants to do is just make sure that it's roughly the right size of Z. So if I press says that as sevens go over the top, I'm going to pull it back. So it satisfies. Then I'm going to come in with edge select over like so. Then all I'm going to do, now I'm just going to align this all up. So if I come to this, for instance, I can lining up the edge is near enough perfectly aligned. With this. I can do the same. It's now some Joel's going to pull this out. Alright, so the next thing now wants to do is just press one again. I want to do now is give it the same kind of modifiers as what the other one's got. So what I can do is come in, I can copy the modifier onto my actual plane. So if I select my plane first, like this one with the modifier on press Control L. I can copy modifiers and there you go. Now you can see that's exactly what we're looking for. Now the thing is about this one, as you can see that this bit is a lot thicker than this one. Well, I'm gonna do now is just turn it up, move it into place now. And all I'm going to do then is just pull it out a little bit because the not quite fitting into the place that I want it. So something like that. Very, very nice. Okay, so that's that bit. Now, the problem we do have is that we have some parts here and we don't want to keep actually creating this swollen I'm gonna do is I'm just going to turn my TV off. Then what I'm going to do now is I'm going to sub-divide this. So if I bring a subdivision in, you'll see that I can't really see anything which is kind of annoying. So what we're gonna do is I'm going to press control law. I'm going to move these into roughly into place. So control. So control our though. And then two more law. Alright, so let's first of all put these where we actually need them. So if I press one now, short, if I press Add and go into wire-frame, going to edge slide, sorry versus like. Now see where these are compressed. Be. Grab them both, hold them into place right in the center. Same with this one. So be bold them into place. Like so. The planes place these two in the right place anyway. So B vitamins place like so. All right, so on the next one then what we'll do is we'll actually get this finished and it won't actually take us that long to actually finish this part and then we can add it to our scene. All right, everyone, so I hope you enjoyed that. Thanks a lot. Bye bye. 21. How To Change Materials And Textures : Welcome back everyone to blend the three beginning a step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's come in and actually fix these parts. So the first thing I'm going to do is I'm going to come in and put it on object mode. And then what I'm going to do is I'm just gonna make sure that I've grabbed each these. So then I'm going to press, I want to go into front view. And actually that might not work for my needs brown Z to go into wire-frame. Now let's see if I press Control B. Yes, now I can see them. I'm going to pull them out. The actual size. They're going to be like so then what I'm going to do is basically I'm going to press Shift D, duplicate them, hold them all. Now I want to do is I'm actually going to turn back my TV on. You've got something like that. Now the moment you can see, if I go back in solid, we have something like this right now. So you can see that they're slightly been these have actually inherited the thickness of the plank on the meat. So I don't really want that. So what I wanna do is I want to separate these off. So I'm going to press P selection, separate them off. And now we can call them and I can actually grab where it says The solidify and just minus that off. Now can do is I can press a and then I can press E and pull them up like so. Now we can start to fit these into place so you can see at the moment they're a little bit too wide, so I'm going to put them just near the back, like so I'm going to make sure that they fit in the front so you can see the jaws fit in, in this frontier. And now I'm just going to level each one of these up. So I'm just going to quickly come into each one and pull it all the way down. And you can also see the main problem of guys, I need to pull them back a little bit because they're just too far forward. So I'm going to grab them all. Act like they are looking pretty nice. Now, just go through them one at a time. Just make sure that you're happy with how they look sick. Needed that one. Okay, and then this one, Pull it. How easy was that? Really cool? Alright, now let's say delete this out of the way because we're not going to need anymore. And then walk can do now, I can grab all of these. So pressing D grabbed the mole. Let's go to Object now and apply all those modifiers, so-called fit and mesh underneath select wants to do that. So Object Convert, mesh. You can see the words all like kind of deep orange. That just meant that I couldn't actually do that. Then I can press Control J, joining them all together, right-click Shade autos, move. There we go. There is our actual shell. Then. Now we need to do is we need to think about unwrapping it. So I'm just going to check this just to make sure I'm happy with that part, how it's actually going onto that. I think I am actually, I think a mapping books. Alright, so what I'm gonna do now is I'm just going to press Tab. I'm going to press a and then one wins, presses you. Smart UV project click. Okay. Now I do want a nice piece of wood, wood texture on these. It needs to be a white kind of texture. So let's have a look. Actually the textures that we've got. So we've got I open this, we've got this painted wood texture. We've got this word dark texture. And thinking that we'll use that in mind, make our own texture. So I'm gonna do is I'm going to try to bring in the same world as the, as this going round here. So the frame mode. So basically what I'm going to do is I'm going to come in. I'm going to click on down arrow and in-frame would you go, that is what it's gonna look like with the framework. Which actually doesn't look too bad, except these are all going the wrong way. So before I do that, well, I want to do is I want to go to the UV editor him. I want to fix these so that they go in the right way. So if I press tab, we can see the reason is because all of these not facing the, you know, they're not facing the right way and things like that. We can see that this actually has an on-ramp properly. So control layer transforms right-click origins Geometry tab again, a brush. You want UV project. Click. Okay, there we go. Now we can see that these are going the wrong way. As you can see, just these from bits that are really kind of mess Neil, really don't want that. So what I'm gonna do is I'm just gonna make sure that the rest of it, they'll all go in the right way. Is all of these are going the right way. So everything is pretty much fine except we need to pull the word out on these, so make them bigger and change these parts here. So these front old Betsy going all the way around. Here's what we do though. Let's actually first of all alter these going round here. All the way round. As you can see. Now all the way around to there. What I'm going to do is I'm actually going to press U landmark pack. Okay? And you follow active quads and let's see, you get that to work. Let's turn it the other way round now. So eight or 90. Now the one problem you've gotten now at the moment, as you can see, this is much higher resolution than the rest of the wood. So I'm happy with the actual resolution because I think it should be a little bit thinner. Maybe just note that thing. So all I'll do is I'll press Tab. I'll zoom out to find where this is. And then all I do is I'll just, alright, let's hide the other way. Let's press a now just to grab everything else. We can see we've got the one on the back which we don't need to worry about. All I want to do now is just check out this one, this one here. Let's do the same thing again. So I'll click, you. Click Okay. You follow active quads, like Okay. Now let's spin it around. So a 90. There we go. Alright, let's push you in a little bit. So S and X, X0. And then I'm going to do now is I just want to get rid of the backs of these because I'm really not going to need it. In fact, I will leave it on. I'm just not going to fix the back of it. That's all. I'll just do it that way. Alright, so now we need to do is we need to fix the rest of the wood now. So if I hide that one out of the way and hide this one all the way which has already been hidden. And then while wants to do is just pull these out. So a S and X pulled them out a little bit. Like so. And I think that looks really nice. Now finally, one needs to do is I need to copy this now. So I'm going to click Plus click New, and I'm going to call it a shelf. White board. Alright, now let's go in. And what we'll do is we'll copy this. Copy. They real base material, like so then minus this off. Now we've got an actual material that we can work with. We're not going to affect the rest of the bills and I forgot to shading panel. Let's see if we can get the right color. First of all, we've got already these n, which is really great. If a term has saturation down, I already know. Once make sure, yeah, there we go. So it's actually turned it down as you can see. Then the soap, alright, that is perfect. So you can see what I've done there. I've messed around with a few of these. Alright, let's press Control a or transform dry plate that Origins geometry. Now let's actually put this into place. So remember we've got frame wall over here. So we want to make sure that this is certainly not too big. So if I press S, maybe I actually can get away with it being there. Remember there's a violin on here as well. So the violin here, we know the rough scale of the violin while thinking went off to do is just press, push it down. Just a little bit like so. Okay. So let's now put it into place. Yes, that looks really, really nice. I'm happy with that. Let's put it on object mode. Let's save our work. Really hope you enjoyed the course so far, and I'll see you on the next one, everyone, thanks a lot. Bye bye. 22. Working With Multiple Atlases: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Now I think what we'll do is we'll work our way around. So what we'll do is we'll start on this cupboard. Well, welcome to the musical statue. Then what we'll do is we'll work our way around this kind of shelf here and then the actual violin. So we're just basically going to work our way around this way. The reason we're going to do that as we work around here, we have some rather difficult things, so more simple things. But the main actual difficulty now left in the scene really is the violin, the city, the plan, and the grand piano. So we're going to actually take it a bit slower to actually introduce you to a lot more new concepts within blender. Alright, so with that said, let's get started. So what I would say is let's open up our actual reference because we can see here if we zoom in, this is basically what our actual cupboard looks like. So it's rather simple as you can see. So let's actually move that then. Oversight. We haven't actually got a full reference for this sexual cupboard. So we basically kind of winging it. So what we'll do is we'll actually use this actual cupboard signs here. I'm going to do is I'm just going to press shift D. I'm going to duplicate it over. And then I'm going to make my cupboards from the front of this. We're going to have a nice top on it. So what I'm going to do is I'm just going to press tab, come into it, press Control R and pull it up like so. Then what we're going to do is I'm going to make this now a little bit bigger than the other bits. So this bit down here, but I only want to make it bigger on the edges here. I don't want to actually create it any bigger on the back. I'm just going to grab all three of these, press E, enter and then ultimately IS and pull it out like so. And then I'm just going to make sure that offset even is actually on a now you can see that where it looks like if it's not coming out straight, remember to reset your transformations. And the other thing that I'm going to show you is before actually doing that, sometimes you might actually press E by mistake and you might actually want to, you might press E again, like so. Now what happens here is that you've got actually overlapping vertices on here and edges and even faces that we actually need to get rid of that. So the way you can get rid of that or check it is to come and select everything, come to mesh, come down to where it says clean up and you're going to merge by distance. So once I click Merge by distance, you can see 16 vertices have been removed. This basically means now that this that I actually extrude it is no longer there. And that's a great way to fix it. The other way, of course is, the other thing is that you need to press Control eight, all transforms, right, place their origins geometry before you actually start pulling this out. So I'm going to do is I'm gonna grab them again, press Enter alternates, and actually pull them out like so, just a little bit. Alright, so now let's work on the actual doors. So I'm going to do is I'm going to press Control Law, bring in another edge loop jaws don't do that. So I'm just going to look how yeah, I think that's about right. Something like that. Then what I'm going to do now is I'm going to bring in two edge loops. So control law, left-click, right-click, right in the center. And then what I'm going to do is I'm going to pull these out. So I'm going to actually bring them in just a very slight bit with the eye. So if I press I bring them in like so Jill, so the nearly touching as you can see there and then bring them out with E. So now you can see that we've got our actual COVID sets open and looking very nice. Alright, The thing is, is why you only need a slight sliver down there to actually show that this is an actual cool, but you don't want any big gaps or anything like that. Okay, so now let's actually create all handles. So I'm going to do is I'm going to press Shift to select it and then shift a and let's bring in a cube. So I'm going to use the cube, pull the actual handles. And the other thing is, I've actually sat in the shading panel and it's making it a little bit hard actually to move around and things like that. So I'm just going to pop back into modelling section. I'm going to press the little dark. I'm going to put this onto object mode like so. Now it's going to be much, much easier to work. Alright, so let's make this a little bit smaller. Let's create it so it's a little bit thinner. So S x like so. And then let's pull it out. So S dead, pull it out, like so. And then we'll wanna do is I want to make this into a handler. I just want it to be a very, very simple handles. All I'm going to do is press Control R to left-click, right-click, and then essence that and pulled them up. Now if they don't pull up, again, all you need to do is make sure that you're on medium point instead of individual origins, essence, ed, and now you should be able to pull them up like so. Alright, now I'm going to do is I'm just going to pull these out. So I'm going to grab both the backs of these, hold them out like so. There you go. Very, very simple design. Now, we can actually round this off quite easily. All we need to do is just press control a all transforms right-click the origins geometry, modify or add modifier and subdivision surface. And then all we need to do is we need to need to make sure that we're setting this up one. And then now we just need to make sure that we bend in this in the correct way. In other words, as you can see at the moment, that it's too rounded on here. Now to fix this, all we need to do is just press Control Alt, left-click, right-click, controller, left-click, right-click, and then just grab both of these now and just pull them back into place near enough to that point. And then you can see now we're starting to actually get somewhere where it looks a little bit more like an actual handle. The other thing is what I'm going to do is I'm just going to grab both of these and I'm actually going to bevel them off. So Control be, beveled them off a little bit like so. And that's looking very nice. Let's press so shade Altos move on. And I'm just wondering, actually should have kept them square. Let's turn this down one and have a look what that looks like. And I'm thinking that maybe maybe I should have kept them square. I'm thinking that I'll sue. There's a lot there. Let me just turn this off for a minute and have a look. Yeah. And I think actually that looks that looks pretty nice. The one thing I'm not happy with is maybe have gone to fall on the actual bevel. So I'm just gonna go back to in itself. And then all I'm going to do is press Control D and turn it up one like so. And I think That's looking much better. Now the other thing is probably going to need the bevel going down each of these sides because it is a little bit too much on, it's too hard edge. So let's come in and what we can do it actually instead, I'll actually come in and press Control a reset, all the transforms. And then I'll come in and actually bevel it instead. And now you can see that's looking much, much nicer. Make sure smooth shading is on. There you go. That looks perfect now. Alright, I'm happy with that. Now one thing I do always do is I'll bring my guy over. What I'm doing here is just measuring out see how big down the list. And you can see here that the handle is probably a little bit too big. So I'm just going to press S and squish it down because we are going for more of a realistic look on this one. And then what I'm going to do now is I'm going to press 321 side view. I want to press Add wireframe. And I can't really see anything at the moment. So all I'm gonna do is I'm going to grab this and this are Shift H to hide everything else, not the way three again. And now I can say exactly what I'm doing. So I'm just going to pull them down just to something, something like here maybe. And then what I'll do is I'll put these two together. So I'm going to press shift D over, like so, and then Shift D, pull it over. So now let's just move them all back that go into solid. And let's move them all back now into place holding the Shift button. And there we go. That looks really, really nice. Alright, so the next thing now we've done that what we need to do is we need to think about getting some actual materials on here. Now, these on their own can probably I've just saw some metal on here if we go to our textures now, so let's go to our textures, will open up. Let's have a look at this one. So we can see we've got microphone metal, so it's definitely not that one. So I'm just going to close that one down. I'm gonna to go to them to my atlas three. And I'm going to open up this one and we can see we have one here. Silver metal, we've got silver metal. I think we should have won. I'm going to actually open that up there. Then what I'm going to do is I'm going to come back, open up my Atlas one. And let's open up this one. We've got word, dark gold, brass, and I think one we will use on this is the actual silver. I think we'll use this silver metal here. I'm just looking to see what it's gonna look like. Let's actually give that a try and see where it looks like. If not, we can always use one of the mike metal or we've got a couple of metals here anyway, we've got some brass as well. So we'll have to think which one we're going to use. Alright, let's put those both down. And then what I'll do is I'll join these together with Control J. You can see we still got all devil on, so we might as well apply that. So Control a, and then what we'll do is we'll press a and then press you smart UV project. Click Okay, now let's calm and add in a material. So I'm going to click the, I think it was Atlas one. I'm actually sure it was heartless one. Let's put it on material, and there we go. Then let's go over to our UV Editing. And let's make them much, much smaller. Atlas one. I'm actually wondering now. So let me, let me open that up again. Let's see. Silver metal is this one. So it is Atlas three. So let's put this on Atlas three. Like so. Let's move this then over to the Atlas three, which is, I wish it would name them on here. The correct thing, I think I should have renamed my others, so atlas three, There we go. Now, let's pray onto here. Let's press the button just to make them bigger because we've got the space then. Then what we'll do is we'll zoom in now. I actually have a look at those. Yeah, and I think they're actually going to be okay. They might need to be made a little bit darker than what they are. We'll have a look at them once we've actually got the yield award in as well. So what we'll do on the next one is we'll start unwrapping this with the word that we want. I think it's going to be this word here. I'm just going to have a quick check and have a look at this. So this is painted Blackboard. And if I look on my other reference, I think this is going to be the painted black wood is going to be the same as this. And if I zoom out, it's the same as this as well. So the painted black ward, we've already gotten there, so let's bring that on. Alright, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 23. Creating The Music Note Prop: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms, and this is where we left it off. Alright, so let's now put that down. And then what I'm going to do is I'm going to press Alt H, just bring everything back for now. And I want to look at this and you can see it says painting frame. So I'm going to actually put it on the same materials that so what I'm gonna do is I'm going to grab this and I'm gonna look for painting frame, which is this one here. If you can't find it by the way, you can actually type in here as well. Then you can actually click it on. This is all painted frame. Actually. It's Atlas three, sorry, it's Atlas three because that is just r. It looks really funky and all that. But I think we need to change that. So I'll do is I'll come back to this. Put it on Atlas three. There we go. Alright, now, let's see if we can get away with just unwrapping this with the standard smart UV projects. I don't think we will, but let's have a look. So I'm going to do is just going to grab all this. I'm just going to put it into place. I'm going to see what that actually looks like. And actually we might have got away with that. Actually that's located near the north effect. I'm actually really surprised that actually did that. So I'm, I'm happy with how that looks. You can see even the word for me, it's looking like it's something that's kind of heavy-duty and just looks really nice. Alright, so now let's join this up with our handles. So if I grabbed my handles, Europe, the actual COBIT Control J and then control a, all transforms. Right-click the origin to geometry. Then what I'm going to do now is just pull it into place. I'm just going to put it onto material mode because it'll make a little bit quickly. We had it and just pull it into place where we need it. So if I keep pulling keep pulling. The just before it pops through there. It's kind of where I wanted something around there. I'm just going to grab the other one. If I press G Now you can see I've got this one. I don't want that one. So now I've grabbed grabbed it and see it switched over there. And then I'm going to do is just press Delete. And then finally I just have a quick look at what that actually looks like. And there we go. Alright, so the one thing is that this might be a little bit too dark. It might just need turning down a little bit. It might not need to be as dark as this part here. So I think what we'll do is we will make this its own material and then we have free to actually move, change it if we want this one when it, or is it just going to grab this plus nu? And I'll call it a cupboard. Spell that right. Atlas three down arrow, copy material, Word down arrow, paste material, minuses off like so. And now we're free to go over and we shouldn't be altering this because I'm actually happy with the frame. I'm just going to go over to shading now. I'm going to press Alt to zoom in. I'm going to put this on rendered view. And then what I'm going to do now is Unwin's press Shift a search. And again, we'll use an RGB curve and see if we can get any good results with that. And then turn it up a little bit. Go, just make a little bit lighter. So on I actually think that it's probably going to look better. And the other one you can actually use as well, I'll show you another one. We can also use something called gamma. So searched a gamma, which will lighten the whole thing gulp. So if I bring this in, you'll see if I bring this down now, we can actually light and the whole thing go and get some really nice kind of wood grain in there. And again, when we play around with this now you can see as I bring this down now, we can make it much, much lighter than what it was. If you ever want to test this, by the way, just plug it into the base color and then you'll see that's the old color press Control, zed, and that's the new color. And you can see that looks just so much better the way that we've done it now. Alright, so now we've done that. Let's think about our musical note now. So again, I'm going to go back to modelling. We do have a reference for this so we can bring that in. So let's go now and open up our reference. I want to come back to this, home to our references, and this is the reference that we're going to be using. So I'm going to, it's called musical note as you can see. So I'm gonna do is I'm going to press, want to go into front view and then I'm going to press Shift a. I'm going to bring in, I'm going to press tab because you can see that was in edit mode, shift a and let them bring in a image. Image, reference, musical note. There we go. This is what we're going to base this off. Now I might as well make this the right scale first of all, so it's gonna be something around that sort of scale. And what we're going to use for this is we're going to actually use a curve to create this because it gives us the flexibility to move it around once we've actually got in place. So what I'm going to do is I'm going to press Shift S gets to selected and then Shift a. And what I'm going to bring in is a curve. And I'm going to bring in a path. I'm going to make this smaller so as to bring it in. And then what I'm going to do now is I'm going to try and set it going along here. So if I press all on y, I can actually rotate it. And while I'm in this view, so this straight on view. I can always press G to move it around. So if I press a G Now, you can see I can just move it around now and now I compress all and why? It a lot straighter actually, the one I actually had something like that and then one we're going to do now, you can see that we've got these little points in here. And basically these are going to determine which way the curve goes. So if I now press E, I can extrude it out like so. Then E again, then E. You can see that curve follower in this than E and then E like so, and then come to this one. So select this one and then a, then a and just work your way around. Like so. And don't worry if it's not in the perfect place because we can come in and fix that in a few moments. Once we actually bring this curve out, the main point here is just to get the general feel of this musical note. So then bring it and bringing it in. Bringing it though. Like so. And finally like so. Alright, so this is what we've got so far. Now let me just grab my plane now, I'm pulled up back a little bit and that's looking really, really nice as you can see. Let's now bring in. So because we've used a curve on the right-hand side, you're going to actually have a curve option here. And you can see that we have things like resolution and things like that. Now the first thing you should always do is just go down to geometry and you should bring out the depth of this. So if we bring out the depth and see exactly what that does. Now, I don't want mine particularly square or anything like that. I actually want it to be rounded, made of gold. Now, if you do want yours to be kind of a hard edge option, then what you can do as I'll show you both ways. So this is this one. I'm going to press shift D on the other one. So I'm just going to duplicate, don't duplicate it. I just wanted to show you how we actually do this and then you can make up your mind which one you want. I'm going to set this depth then to zero. And then one going to do is I'm going to pull the extrude out like so. Now I'm going to do is I'm going to bring in a solidify. So I'm gonna go to my modifies tab Add Modifier, bringing us solidify like so. And then what I'm going to do is I'm going to pull this out like so, right-click. And we're going to shade autos. We're going to shade flat actually. Then we're gonna have a really good idea. Actually that's looking really nice. I'm not sure whether to go for this one. Now I've seen what this one actually looks like. I'm really happy with how this one actually looks. First of all, that we followed do anything wrong going to do is the best thing is we can actually alter this on the fly even though we've got in. So let's put an object mode just so we can see what we're doing. And let's say actually pull some of these out. So I'm gonna come in. I want to put this little button here on which is proportional editing. And basically what that means is, as I pull this on a Zoom my mouse, and you can see that we can actually alter the old thing at the same time. So it actually kind of proportionately edit everything at the same time. Now the one thing I wanna do is I just want to click connected only because I don't actually want to move all of this part at the same time. What I wanna do is I want to pull this out. So I'm going to do is I'm going to pull it now. I'm going to open up my mouse a little bit and just move it all back, like so because I want it to look as though it's got some twist to this like so can you see how much twist that as now and how easy that was to do. And then what I'm going to do now is come to the front of this and pull this one out. Like so. I'm rarely, rarely give it some twist. And you can see now just how nice that actually looks. Now I might as well there is, I'm thinking that I'll pull maybe this Bombay out several look at the bottom. So I'm going to grab a look. I think actually it's this one here. I'm going to pull this one out like so. And then I just wanna make sure now that this in front of there, like so. I'm thinking that is looking pretty nice like that. Actually, I'm happier than this one over here. So I think I'm actually going to keep this one. I'm just going to make sure that it's all twisted out. Yeah, that's looking very nice. Alright, so I'm gonna do is I'm going to delete this one out of the way. Really happy with how this one looks. Then what I'm going to do with this one now is I'm going to make these ends a little bit thinner. As you can see, this here is a little bit thinner, so let's come in and do that. So if I grab this end with proportional editing on, I compress old tests and I can bring it in Like so. Now we can do the same thing with this, but you can see on here it's a little bit twisted because we've actually brought it in. We can twist it the other way as well. You can see we can twist it with our Z, but I think I'm going to leave that one. We're gonna do is just press Alt tests. Bring that in a little bit, like so. That looks to me really, really nice. Now the other thing you need to know is that if you come over again to your actual curve options, you've got a few more options. One of them is a resolution you can send all the way down. And you can see it becomes really, really blocky like so. And I don't really want that, so I still want to keep that smoothness. But without too many, too much resolutions, you can see each one of these bands is actually a edge loop. And that's not, we don't want 1 million polygons in here, so we want to keep it still relatively low. So I'm gonna do now is I think we're on the next lesson. We'll get this finished off. We'll get the little plant that sat on. And hopefully by the next lesson we shall be moving on to something like even like the violin once we've once we've finished this. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 24. Starting The Violin: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Now we did discourse, the actual resolution going this way. The other resolution is this one here, which if I bring this down, you can't really see anything but what it is, it's this resolution going this way. As I turn this off, as you can see, you can't really see anything. I don't even know actually, if you can see it on wireframe. I think what I'll do is I'll just show you how that works. So I'm just going to press that, go into solid. And what I'll do is I'll turn this off a lot, not this. I'll turn this one off a lot, like so. And then what I'll do is I'll just apply this. So to apply it, you just go to Object, Convert mesh. And then what you'll do is you'll see actually because I think because we add a modifier on, I think that's why we couldn't get any resolution going down here. So I think what we should have done instead is let's just give it a try. So instead of doing that, what I'll do is I'll come and just apply the modifier. You can see that cannot apply modifiers to curve, convert curve to match. So we can't actually do it the other way. So unfortunately, because of the way we've done it, we can't actually turn this resolution up. So I think we're just going to have to go with this and what it looks like. So let's shade auto smooth. Let's actually go to objects and convert now. So convert to mesh and let's put on auto smooth like so. And yeah, I think I think actually I'm really, really happy with that. The one thing I'm not happy with is just this little kind of blocking this here. So I'm going to actually fix that one going to do is I'm just going to grab it, going all the way around. I'm going to then just come a little bit over and just move it without proportional editing on. So then the off, just a little bit just to smooth that out. Like so. Alright, That's looking good. Now let's think about the plinth. So I'm going to again press one on the numpad, press Shift S because to selected shift a, let's bring in then a cube. A cube, Let's make it smaller. Let's bring it down. Like so. Let's press S and Z. Like so. And we just want to sit this thing on there. So I'm just going to pull it this way. Like so and then S MY pull it in. Like so. Just thinking if I'm happy with how that looks, I think I need to pull it down a little bit like so. Yeah, that's looking better. And then what I'll do is I'll bring in another one now. So I'm just going to press shift D. I'm going to press S to bring it out. Like so. Actually, I'm thinking that's looking pretty nice. So S and Y, just to make sure it doesn't fall over, I need to make sure that it looks as though it's actually standing on there. Now finally, what I can do is I can actually join all of this together. So join it altogether. Not this. We can actually delete that out of the way. Now, we can join all of this together. So Control J and then control a all transforms. Right-click the origins geometry. Again, we're going to just shade auto smooth, and there we go. Now we're done. Now let's have a look of what this looks like. I'm really interested actually into how this is going to look. So I'm going to do is I'm going to come in. I'm going to grab this part first. I'm going to press L, I'm going to press you smart UV project. Click Okay. Now normally the best thing about gold or metal is the fact that you can get away with just unwrapping it any old way. I'm really, and you can actually get away with it. So what we'll do now is we'll go to pull up this again and actually look where our gold is. So if I pull this up, let's have a look. Which one are gold is, so textures isn't on that last one. I think it's this one here. But it's Atlas one gold metal. We've got a gold and we've got brass so we can see what either one of those looks like. But let's come in and put this on Atlas one, like so. Let's put it on material just for now. Just to get it in the right place, I'm going to grab it like so UV Editing. And here it is. Let's put this on Atlas one as well so we can see, let's scroll down this one here. Then what I'll do is I'll press a S, Bring it down, put it in place to zoom in. There we go. There is our beautiful golden instrument now. Gold dust, touchy. Now let's bring it over and have a look on the brass. Well, let's look if it was brass and would it look better? I think actually with the home, maybe about a reserve, gold. So let's put it in gold. Now, let's open up these parts as well. So I'm going to press L and now you smart UV project click Okay, a S. And let's bring that down then to our marble effect like so. And there we go. That's looking really cool. Alright, so now let's actually rotate this around. So all zed and 90. Let's now put this in place. Let's put it on just material so it can actually move around. Put it in front on here. So right in the center. And then the last thing I wanna do is I just want to make sure that it is going to be the right scale and size and things like that. So my guys stood on the floor. It's fairly, fairly big, but it does look really nice. They're a little bit offset from the window. I don't want it right in the center. And I think actually I'm really, really happy with how that looks. Alright, so now let's move on and think about all violin. So we've just created that now we've got a good idea of how to create things like this. So let's actually think about our violin. Now the vine limb probably needs a bit more detail actually than the grand piano. So let's have a look at our reference or if you press one, Let's press Shift a. And then what I'm going to do is I'm going to come down to where it says image reference again. And this time we're going for the violin. Now you will notice we haven't got the whole violet in here, because this bit, to be honest, there's just a bit that comes up. And then it's got a few little knobs on the top of it. So what we're going to do is just bring this one in light. So I'm not worried about scale at the moment. I'm just going to pull it down to something that's workable. And then we're going to do now is go into modelling. First one again, I want to make sure as you can see that my cursor is in the center of yours, isn't just press Shift S because it's selected. And then what I'm going to do is you can see that actually move that so shift desk because to select it and then we're going to do is I'm just going to press Shift day. I'm going to bring in a plane when I rotate my plain round. So all I think it's X 90, like so let's press that. I'm going to wireframe and I can see exactly what I'm doing and then won't do is just bring it in a little bit. So sx, like so. Now we should be able to start working on this. Now the other thing is about this is I don't really want to go round and how both sides of this, I only want to cut out one side. So what I'm going to do on this one is actually use a mirror and modify it. So if I press Tab, I can then bring him one edge loops on control law. Left-click, right-click to drop it right in the center. And then what I can do now is I can come and actually delete this side of it. So if I press delete faces, delete this side. Now you can see that if a bringing in the mirror, it short column where the orientation of this is now whenever you Marin something it will come from the orientation of there. So just make sure that you grab the edge if it's not in the center press Shift S because to selected. And then what you're going to do is you're going to press tab, right-click set origin to 3D cursor. And then he's going to make sure that that is right in the center. Then what you can do is you can add in a modifier. And this time we're going to bring in a mirror like so. Now you can see that it's duplicated over the other side. Now the best thing is that when I come in now, I'm going to press a just so I can see what I'm doing. And then I'm going to bring in a course so far I call main. Now, I'm going to cut it from here. I'm going to follow this around like so. And you'll see that once actually reached the end and actually click this on, that it will have caught this side as well. So again on this, you might want to use control to get around these pieces here. So I'm using control like so, like so, like so. And just working my way up. I'm not worried about particularly about polygons in here. What I want to get, just the basic shape of this. So so work our way up and then hopefully we're going to join it in the middle. I want to release control now. I'm going to put it around there and then press Enter. And there you go. Now you can see that we've actually caught it out. Now the one thing you'll see is that it's not actually level on the other side. And actually this is because this actual reference isn't put in the middle. As you can see, it's a little bit out. So I think though we can still get away with this, so I'm going to keep it as is. And then what I'm going to do now is I'm going to cut it out. I think actually, instead of doing that, I think I'll do this separately. So what I'm gonna do is I'm just going to come in and I'm going to grab just this piece here. So you can see, this is this one here. As you can see, I'm going to press delete faces, and I should be left with just this piece here, as you can see. Now I want to do is I want to actually probably apply, do I want to apply this mirror? That's the thing. Do I want to apply this Marriott? I think actually I can get away with a plane, this mirror now, because these two pieces, I can actually cut out separately, mirror them over and then Boolean now and you'll notice a lot of times when we're actually creating things in 3D modeling, it hits like working out a puzzle and all you're doing all the time, he's just working out the best way to do something. And how are you going to do it? So just thinking kinda ten steps ahead. Actually, if you want to be the model that you are, the more steps head you actually thinking. And that's all it comes down to, really, as well as workflow. So basically you reach a certain point where you'll get really good with modelling. And then all you're working from there is just, it's like chess. How many steps ahead? Kinda think about creating something and how fast is my workflow. And that's basically what it comes down to. Two years to live modelling. And then the rest of the time, all it's about is working on your step progress and wicking on how fast you can actually do something. Alright, so what I'm going to do is I'm going to press top. I'm going to come down to my mirror, press Control a. And then what I'm going to do is I'm going to bring this out now. So I'm going to press Add wireframe, Bring it out. I didn't mean wireframe, does it solid? Bring it out like so we've got a nice yap line going down here. I don't actually think I want that. So I'm going to do is I'm just going to come in elite and edges and you can see what happened. They got rid of it. And then all I'm gonna do is I'm just going to press Alt, Shift and click press the F bond. Hopefully that should fill it in like so. And you can see now that's looking pretty nice. Alright, so what we'll do then on the next one will care I'm working on this. It might take a little bit of time to actually get this looking right and things like that. And apart from that, then we've got the strings and we've got the little nobly bits to do and all stuff like that. We're going to have to put a little bit of work in making this violin look quite realistic from the off, because with the piano, we can kind of get away with projecting the image, the images onto it. But with the violin, it actually has to be made unfortunately. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 25. Creating The Base Violin Shape: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so let's think now about this piece over here. So what I'm going to do is I'm going to actually, I think I'll actually pull this out again. So we did actually delete this part over here, but what I'm gonna do is I'm just going to grab this part and this part, and I'm going to try and just pull these back a little bit. I'm gonna do is I'm just going to press J just to put that on. And then we're going to do is I'm going to come to proportional editing. And I'm just going to pull this out. So I'm going to grab the whole thing. Just pull it out very, very slightly. Like so because you'll notice with an actual violin, it bows on each side. Now I'm going to do is I'm going to shade auto smooth. And there you go. Now you can see that starting to look much, much better. Now we need a way to actually make this little line here. So I'm gonna do is I'm going to come grab both pieces. I'm going to press I don't want them split like that, so I'm just going to press I again. And you can see as well that I do have a problem as a bring this in is starting to cross there. Sometimes that happens, then just bring it in very, very slightly and you should be able to get away with how that looks now. And you can also bring it in again if you want to, you just have to be very careful. What happens is it's the moment that these two parts are actually crossing over. So that's why we've got to be so careful. The other thing you can do is you can also go the other way. So you can grab it going all the way around the outside and just press old tests and bring it out. Let's turn off all promotion I did send. Let's press Alt and S. S and just bring it out a little bit. You can see again that we do have some problems there. Alright, so I think what I'm gonna do is I'm going to leave that as is. I'm going to pull that back then. I think you might, we might have to go around and actually cut out another piece close to this. Or we might be able to get away with this. We'll have a look in a minute actually. First of all, what I'm going to do is while I've got this grabbed, just going to press shift D. I'm gonna pull this out a little bit like so. And then what I'm going to do is I'm going to separate it now from the rest of my violin with P selection, like so, and then grab it, Control a or transforms right-click origins geometry. And then we're going to do is I'm going to actually give this now, basically change it into an actual curve. So if I come to Object, we're going to convert to curve. You'll notice as soon as I've done that, we've now got a little option down here. And now what we can actually do is bring up the depth of this. You'll see the really, really fascinating way of actually creating that little part that goes around the violin. Now if I right-click and put on shade Auto Smooth, you'll see how that actually looks. And now we can actually pull it back into place, like so. Now the bit I'm looking for is this. You can see that it's just kind of not quite going all the way round there. It's nearly you can see it's very, very close to it, but we didn't quite get it. But what we can do now is, I think Colby get away with making this a little tiny bit smaller, like so have a look now. Yeah, and I think we can actually get away with that. So I've made it a little tiny bit smaller thing what we'll actually do now is if we come in and we actually grab both of these parts now and just pull them out a little bit. So if you just press E, just very, very slightly pulled them all up hills, pass that mall like so. Now you can see we've got the actual little groove, a double top of the eye that goes down the side as well. So that's looking pretty nice. You can see its jaws. They look where that little groove is. Once we've actually got the wood on there, it's going to look even nicer. Alright, so now I'll do is I'll come grab my actual curve. I'm going to hide it out the way. And then what I'm going to do now is just pull this back. So I'm going to come in. I'm going to grab the whole of the outside Alt Shift and click. I'm going to pull it back then holding onto the Y. So Y, pull it back and just to get the right kind of size, I think it needs to be a little bit thicker. I'm also going to use my reference here. So even though we haven't got many references on this one, we can actually open up all the reference. I'm just going to look where that oneness. So let's open up our other reference because we're going to need it open anyway. What I'll do is I'll open up my pure ref instead. And here we are. Now we can see the kind of scale that we're actually looking for and how this is all going together as well. So I'll think at the moment, Let's pull this over to my other screen. So I'm going to grab it, pull it over to my other screen, and this is where I'm going to basically use. So I recommend you do the same thing, all bring it into Blender, whichever one's going to be easier for you. Alright, so let's actually put this down. And now I'm going to do is I think that's actually thicken off. So I'm going to do I want to fill in this area, I'm just going to press F to fill it in, like so. Alright, so the last thing I need to do is think about is I need to fill this in now and then start pulling this out a little bit because it needs to be kind of bow down here. So let's think about that now. So if I come in and grab both of these, and then what I can do is I can press Alt F and fill those in light. So when you can say that's looking a bit of a mess. So instead of doing that, what I'm going to do is I'm going to right-click come down and I need to be in face-like. So I'm going to right-click triangulate faces like so. Now you can see we've got actually some work. What we can actually use for this. So now I'm going to do is I'm going to come in. I'm going to grab each one of these. So I'm going to grab this one and this one, this one here. So look to there, I think. This one. And this one here, like so I want to press J just to fill that in. Now you can see that I've got this point here. And now I can put on proportional editing and I can actually pull this out a little bit like so and bold that out a little bit. And now can right-click also smooth. And now basically, I kind of want to make sure that this is kind of flattish. So what I want to do is just have a look if I can turn this up and actually gets the way I want. I think actually, I need to put in some more edge loops in there before I do that. So I'm going to do is I'm just gonna go back. Now the problems caused by the fact that when I pulled that out, we haven't really gotten any edge loops in here. So I'm going to do is I'm just going to grab these, whereas GA, and then I'm going to come in and press J on this one. You can see we've got this big massive bit here that really doesn't have any edge loops. So I'm just going to actually create some edge loops and then not then we'll make it a little bit easier when a pull this out. So it's just kind of going in pressing J and blend. It will create this topology for you going all the way over, like so, like so. And finally, this one here I think let's see how to use this one as well. So I'm just going the opposite ends J like so now let's see if that's actually going to fix it. So first of all, let's have a look. We can see we've actually got some marks on here already. Let's see though. If we can come in, pull this out around the middle, make sure proportional editing zone. And I'm going to pull it out like so. There we go. Now you can see that's looking much, much nicer where it was before. Alright, so I'm happy with that. I can see I've still got kind of this part in here. So what I'll do is I'll see if I can grab both of these and just fix that. So I'm going to pull them out with proportional editing, but I'm actually going to bring it right in. Like so you can see now, bring it in. Let's see if that's fixed. It, it makes it look there, which it absolutely does. So now we can see that's looking much, much cleaner than what it was before. You can see we still got one on here as well. So let's see if we can actually pull this out as well. Just a tiny, tiny bit. So there we go, clean as a whistle as they say. Alright, so now we need to do is we need to think about bringing in another plane. So I'm going to bring in a plane, a plane, bring that in all x 90, let's bring it out. Let's make it a little bit smaller. I'm going to bring it out in front of the violin. Then I'm going to press one to go into front view, Press said to go into wire-frame. Then what I'm going to do is press tab and I'm going to cut this piece out here. So basically I'm going to come in with k. When a zoom in a little bit. I'm going to hold Control and just go around this piece. Like so, like so. Work my way around. Going all the way round here. Just make sure that you actually get a nice rounded piece there. And then just work your way around keeping to the edges. We want it to be very similar. What it is here. Then what we're going to do is we're actually going to use this piece. So if I press Enter now, we're going to actually use this piece, rub it on here, and then press shift D. I actually make the holes. I don't want to move that with proportion and it's an honor to make the holes with all act in our actual violence. So now I'm going to do is I'm going to come and grab this piece with L. So if I can, I'm going to delete that. So delete vertices and a should be left. Now with this, let's put it on to object mode. Again. I've got this piece now. You can see that the moment that this is right in the center. So if I press zed now, go into wire-frame just one small, you can see that lines up perfectly there. But you can see that we're probably going to have a problem where it's not going to quite line up with my actual violin on this side. So what we'll do is we'll just actually mirror this. So I'm gonna come in and modify a mirror, and there you go. Now you can see what I'm talking about. The don't quite line up. What I wanna do is I actually want to grab my actual violence. So this here, can I grab this? And then I'm going to just move it over very, very slightly so we can see by put it more like here, then it's going to be more centralized on each side. And then it's going to make it a little bit easier when we're actually trying to work out how to put these things in. Now if I come and grab this one and then press one and see now that it's still kinda lining up. So you can see it's a little bit out still, but it's more in line with my actual violin now, which is what I'm looking at. I'm looking at these points-based. They've approached on object mode. You can see now this is what I'm looking at and that is land, not much, much nicer. Alright, so now I'm gonna do is I'm going to grab all of this thing. I'm going to press E to pull it out like so. Then what I'm going to do now I'm going to use that to actually call into the back of my violin. So I'm just going to place it in here, like so. Then on the next lesson, we'll actually use that, cuts it out. And then we should be able to start then with the bottom piece, moving on up all the way to the top where we create the actual spiral. We're going, I'm going to show you how to do that as well. All right, everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 26. Working With Complex References: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so now we've done that. Let's right-click and shade auto smooth, and let's now come in and apply this mirror. Then what we'll do is we'll add a modifier onto this. So add modifier, we're going to go with Boolean. I want to click on these little indentations. Now, I'm going to click on fast. Let's have a look what that looks like. We can see that we're going to have a little bit of an issue down here, which we'll probably need to smooth out. So it will smooth out in a minute and then won't do is just press Control a on there and then come to these parts, pulled them out and let's have a look what we've got. And you can see they are looking pretty nice. Alright, so let's actually delete those out of the way. And let's now see if we can actually fix these pots on here. So I'm going to do is I'm going to try and fix this by bringing in the knife tool. So I'm going to call them from here, for instance, I'm just going to go round bringing him on new topology, like so I'm going to go to that edge there, press the Enter button. And then what I'm going to do is you can see already now that is kind of fixed, that issue that we had. So just basically because it needs a little bit more topology, it was bending too much. And you'll notice that blend that kinda puts it back then in place. And you can see now That's looking pretty beautiful. Alright, so now let's have a look at our image. So I'm looking at my reference which is under my pure ref. And what I'm going to do now and think I will build the bottom bit down here. So first of all, let's press one. I'm going to wear a front view again, press said go into wire-frame. Let's start building this Paul here so we can see we've got a nice rounded edge on here. So I'm going to do is I've got my, I'm going to put my cursor in the middle of this. So I'm going to press Shift S because it's selected, put it in the middle and then on Wednesdays and now I'm going to bring in, I think I'll bring in a cylinder and just cutting off. I think that's gonna be the easiest way to actually do this. So let's commence a mesh. Bring in a cylinder. I'm gonna spin it around. In fact, no, I'm not going to spin it around because it is the right way, so that's good. So what I'm gonna do is I'm going to pull this up to the place where I want it. I've got it at the moment. I think this is on 20 this and that's absolutely fine. I'm going to pull it out a little bit just to get this starting edge or peer. So something around there. And then what I'm going to do now is I'm going to come and grab the back of it. So I'm going to grab the back. I'm going to press one again is go into front view. And I'm going to bring it all the way down without proportional editing on, down to here, like so. And then I'm going to do is I'm going to now add in some edge loops. So controller bringing in a few edge loops like so. And I think I'm going to drop them there. So right-click and then controller, I'm going to bring in another one which will be here. Alright, so that's looking good. Now I want to do is I just want to pull this out. Of course, I want to delete the halfway point on here. So again, if I go into solid mode, I can now come in and I can kind of get rid of the top, get rid of the bottom, press delete faces. And now we can actually come in and get rid of the halfway point. So I'm thinking the halfway point, if a select here, Control select here, select here, and then Control select here, press Delete and faces than L, delete vertices to make sure we've got no empties or anything like that. And now we can see that is the halfway point, which is what I'm looking for. Alright, so now we're gonna do is we're going to press one again, go back into wire-frame. And now we're going to shape this to the way that we want it. So all I'm gonna do is I'm going to come in with Edge Select and then I'm going to go down to this one here. Like so I want to press S, bring it in and then just work my way down. Don't need to use proportional edits, none, we can just actually do it this way. So S bring it in like so, so Alt, Shift and click S bring it in like so, and just follow this down because it is the perfect reference, like so. And let's start bringing it out a little bit. Like so and like so. Again, because it is so small, we can actually get away with a lot. All we're looking for, the main points we're looking for is to make sure that it's nice and smooth. So as you can see here, I need to zoom in a little bit. So Alt Shift and click, I'm just going to smooth this edge. You can see it's a little bit lumpy and the press S and bring it in. Alright, that is looking really nice. Now what we want to do is we basically want to bring this bit out here. As you can see, it's got a little lamb that comes out here where the actual, these kind of codes actually go over. So now let's go in. And what I'll do is I'll grab this top one, press Control B to bevel it out. I'm going to scroll my mouse meal back. So I've just got one kind of been there. So I'm Joe is going to pull it out holding Shift bond like so. And then when I press that, go into solid. And then what I'm going to do now is press E, enter alternates, bring it out just a little bit, like so. And then finally what I'll do is I'll just bevel off this top and bottom. So Alt Shift and click, Alt Shift, click Control B. Beverly off like so, There we go. Alright, so I'm very, very happy with that. I'm not sure if we're going to need this bit on these little holes in here, I don't think we're going to bother with those. All we're gonna do is shade auto smooth. And then what I'll do now is I'll create this bomb and I'll create this bomb from the actual mesh that we've already got. So again, that wireframe, we can see that it's kind of coming down near the end of balls is actually here. So let's actually do it that way. So what we're gonna do is press Control or bring it down, something like that. And then we're going to do is I'm going to now grab all of this. So I'm going to press E and two alternatives, pull it out a little bit. So then what I'm going to do is now I'm going to grab each one of these, so each of these edges, and then let's pull them out. So I went to proportional editing and then S and x. Can I actually get away with bringing that in? Pulling them out to the size that I want? Yes, something like that I think looks absolutely fine. Now the moments of truth, let's actually put this in place and see where it actually looks like. So let's go and put it in place. Like so. Let's press Alt H, bring back called band. There we go. That is looking pretty nice. Let's pull it out a little bit. Let's pull this out a little bit. I'm thinking the one thing is it needs squishing in and it needs obviously rotating. So let's squish it in first. So x and y, which you're in. Then let's rotate it. So all x, rotate it just so it's on there and then that's slightly pull it down. Like so. And I think, yeah, I think that looks perfect now. Alright, so now let's think about the top of our actual violin so we can see the top. It should come in and then kind of go this way type thing. So I think what we'll do is we'll just come in and pull in this part here, bring it up, so we'll do it that way. So let's do that first. So what we'll do is again, we'll bring in, I will bring in a cube, actually, we'll do it that way and we can bevel the cube off. I think this will be the easiest way. So I'm just going to bring it in to the actual center here. And I'm going to put it where it starts. So z go into wireframe. So it starts something around here. I'm just going to pull it out a little bit. So sx, hello out. And now of great, right in the place where I want it. Now I can actually think about pulling out so solid again, let's pull it out without proportionate and xenon. And we can see now we're really bouncing around these different types. Let's press S and Y, bring it in a little bit, pull it out. And then what we'll do now is we'll devil off each of these sides to kind of give us that sloped kind of look that we're actually looking for. So controller left-click, right-click to drop it right in the center. And then what I'm going to do is I'm going to grab each of these sides, press Control B, and then just bring it up a little bit like so, so something like that. And now I can do is I can just come in, grab the tops of here, press Add, going to wireframe. And now I can start bringing it up where it actually wants it and then bringing it in. So S and X, bring it in, like so, and then zed, solid. Now I'm going to do is I'm just going to look on my actual reference. And actually I think I've actually brought mine to the perfect size there. Now all I want to do is I just want to make sure that this comes back to into the violin and then pushes back. So what I'm gonna do is I'm going to press Control a old transforms right-click the origin to geometry. And now let's push it back into place. So I just want it in there as I say. And then I'm going to grab the top, which I've already got grabbed and then just pull it back into place. Like so. There we go. That is looking pretty nice. Right-click, Shade, auto smooth, perfect. Alright, so the next thing now we need to do is we just need to bevel off this, this top on here, because it actually does bevel in a little bit. First of all though, I'll bring in an edge loop, so Control Alt, left-click, bring it up. Then what I'll do is I'll come now, grab all of this side, all of this side, delete off the back and just press then Control V. And you'll see now that that bevels it off really nicely for us. And now what we need to do is we need to think about the inside of here. And the way that we were going to do this, this will probably bring in a, we might bring in, we might not bring in a curve. Actually what we might do, just do what we've done before, where we actually create it with mesh and then turn into a curve. I think actually that's probably going to be the way that we shouldn't do it. All. We could actually cut it, cut it out. I'm not actually quite sure how we're actually gonna do this yet, but we'll figure it out. I'm absolutely sure of that. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 27. Approaching More Difficult Models: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so with the power of the Internet, I'm able then to actually bring a new reference. And because I was actually trying this out off screen and it wasn't really working for me. So I've now brought in a reference. So what we'll do is we'll actually bring in their own reference. So let's press Shift day. And what we're gonna do is gonna bring the reference. One reference want to bring gain is this one here. So now you can see we've actually got up violin top. Alright, so now let's actually face this the correct way. So I'm going to spin it round with all and all why 90? Let's spin it around that way and then spin it round on the zed, zed and 90. And then while wants to do now is just make sure it's the right way, which is not of course. So while zed underneath to spin it round, let's press the S button will make this a little bit smaller. And then we'll actually get some idea of the scale of this. So you can see this is kind of what we're actually looking for. You can see it's probably needs to be a bit bigger. I'm going to press three, go inside view. I want to pull that down then I'm going to make it a little bit bigger. I'm going to do is have a look at that. So I'm just trying to position it in the way that I think it's going to look so are an x, I'm just going to rotate it a little bit like so. I kinda see that on my over reference. So if I open up my reference on my pure ref, so if we bring this over here, you will see that this kind of band, this is where it starts. So this is what we're looking for to get this to start right around here. Alright, so let's do that now. So I can see it needs pulling up a little bit as I'm saying, something, something around there, we can see those strings then are kind of going the right way. Alright, so now we've got that. What we can actually do is we can actually bring in a plane and actually start creating this. So I'm going to do is, I'm going to come. I'm thinking like I could either bring in a plane or I could just do it with kinda caught in this out. It might actually be easier just to put it out because there's quite a lot of work on this. I think I actually will do that. So what I'm gonna do is I'm going to press Shift a. I want to bring in a plane. I'm going to rotate it round. So I'll why 90? I'm going to make a little bit smaller and pull it into place like so. Then what I'm going to do now is go into wireframe. Wireframe. Then I'm going to press tab, and then I'm going to press K. So basically I won't mind to stall around here, so I want it to come around here like so. And then bring it up around here. Like so. Now let's go for this curve. So we're going to bring in this curve. Just work my way around. I'm leaving plenty of room to actually bring in some edge loops along there. Like so, like so. I actually want to make sure that this ward he's gonna be able to be pulled out. So I actually want to make sure that I can split it off is what I'm saying. So I'm just working my way round like so, like so. And then what I'm going to do now is just go in and now we can go very close. So if I'm holding my control, I want to go close to each one of these very close to it. So there's not really a gap in there. So you can see here really close to this one. Really close. And just work your way round like so close to each one. These like so. And that then will give us the ability to actually pull this out a little bit, which is what we're looking for. And I'm gonna go to this one, holding control again onto this one now. And now I should be able to work my way back round, try and line them up with these. As you can see, it will make it a lot easier if you can do that. They can see here, you might not be able to do with a completely, but I will give it a try. Like this bit here you can see I've going to have to have two. Now one wins do is I'm going to come back to here and then straight down all the way now through here, and then finally back to this part here, like so. Alright, that is what we've been left with. So now let's see if I can actually grab this. So I've grabbed it as you can see, Shift D, and then let's pull it out without proportion that it's a non, Let's turn that off. Then what I'm going to do now is just separate all this. So L delete vertices like so. Then I'm just going to pull this away from my violin over here. And now I'm going to do is I'm going to put this near enough tens place where I want it like so. And then what I'm going to do is I'm going to extrude this out. So if I go now into a solid when I extrude this out. So just to halfway point. So you can see here, maybe gone too far. And then what I'm going to do is now I'm actually going to grab the back of it. And what I want to do basically is press Shift S. I want to mirror it over the other side because I want whatever I do on this side be mirrored on that side. So I'm going to press Shift desk because it's just selected that should put it right in the center for me, I'm actually first of all going to press Control a all transforms right-click. Then set origins 3D cursor modifier. We're going to come down to mirror. There we go. Now I should be able to actually work with this. So you can see it's actually nearly lined up perfectly on the bottom of there. I just need to pull that out a little bit. So I'll do that first. Actually, I'll come in. Rob the bomb. Than one way to do is just press eight and pull it down. There we go, that's in there, that's fine. And now we need to do is just pull this out. So if I come to this part here, you can see that the moment we don't actually have any subdivisions or anything like that in there. So we actually need to add in a load of subdivisions. So if I come in and I probably can get away with actually right-clicking and triangulate faces and then right-clicking and tries to quads. Now you'll see I've actually got something I can work with. Now we can actually put this onto a proportional editing. And when I actually pulled this out now, you will see that it actually starts to pull this out the way that I probably, probably want it. So something, something like that actually. Now the one problem we do have is that before I did that, you can say at the moment that if I grab, let's say the whole thing and pull this away, you can see it splits it up and that's not really what we want. So before we do this, what we want to do is put clipping on. Now when I pull it away, you'll see that actually isn't very nicely done now it's actually in the right place and they're all stuck together down there. Which means now that when I actually come to pull this out, let's put it onto, let's put it actually onto sphere instead. And then when I pull this out now, I'll actually take on first like so. Now you can see it's coming out much, much nicer in the way that we actually want it. Now let's quickly before we do anything else, just bring in a subdivision as well. I want to see what it looks like with a subdivision modifier on. You can see we have got a line going over there. That's not particularly well once I'm just going to put this on simple just for now, I'm actually not sure where that line is coming from. I think, yes, it has come from a subdivision. So instead of using subdivision, I think I left actually sub-divide it probably after I've done that, I'm just going to shade smooth as well and envelope. And actually I think I'm probably overthinking this. I think what I need to do is just bring it in a little bit on the end. Now, just going to look at my reference again, very important that we just get the overall shape. You can see it starting to come out here and then it comes out here. It's a very, very hard actual thing to actually create. So I'm gonna do is I'm going to pull the bottom that out. So if I come into here, I can actually pull that bottomed out like so. And then what I can do is I can kinda try and pull this bit back in. Like so. Now we're actually getting somewhere. Now that's starting to look something like our violin, Let's say, smooth it off a little bit more. So let's turn off this moving. Yes, that's what I'm looking for because at the end the day, remember, he doesn't need to be perfect. We're not looking for perfection actually, because it's going to be on a shelf somewhere. So we just needed to kind of give the illusion of being a violin. Okay, I'm happy with that. Now what I need to do now is I need to kind of bring this bit. And so I'm going to come all the way to here. And then what I'm going to do, actually, I'll, I'll apply my mirror modifier first before doing anything else. Because if I don't apply that, then it's not going to look right anyway. So there's our presser control light. I'll transforms. Sorry. I'll go to my little modifier, press Control a and apply that. And now we should end up with a full mesh. And also, if I grab this now and hide it, I just want to make sure this down here so you can see this whole line down here is actually deleted because if we leave that in, it's going to create a mess for us when we come to you via and everything like that. Basically what the mirror modifier does is when you actually clip it, a lot of times it will create a piece of mesh on the inside. Let's go in and delete faces, and then we can press Alt H and bring that back. And now that's actually fixed. And now we can actually bring both of these ends. So basically, if I then come to this one Control click, this one Control click, what I can now do is press I and bring it in. Like so. Then what I'm going to do is I'm going to drop it back with E. So bring it back like so. Now you can see that we're starting to get, I kind of look that we're actually looking for. If we go to our reference again, you can see this is cutaway and the actual strings actually go in there. So the last thing really to do on this violin is to create a couple of knobs on here. This bit that's going here where the strings are gonna go through, and then these parts on here. And then pretty much we can actually go in and actually text to this and make it look really, really nice. Alright, i'll, I'll see you on the next one, everyone. I hope you enjoyed that. Thanks a lot. Bye. 28. Learning How To Cut Corners: Welcome back everyone to blend the three beginners step-by-step guide to isometric rooms. And because this is a blend, of course, and we're trying to get as many things in as possible into our room. This is the reason why we're not actually trying to create this violin to perfection. We're just trying to get a general outline of that. And that basically means that we can get on and create more things. And in the end, you'll have a good idea. If you wanted to go back and create this violin perfectly, then you probably caught. Alright, so let's now with saying that let's press Control a on this part. All transforms, right, takes origins geometry. I didn't modify it and we're going to bring in a subdivision. So subdivision surface and just sub-divide it. Now sometimes it's worth if it actually comes out like this, just putting this on simple pressing Control a and then adding in another subdivision surface. And now you'll see if kept a lot of the kind of shapes on there. The one thing is that we've actually lost a lot of this on here. So I'm gonna do is I'm going to come put this back on Thursday. Let's have a look what that looks like. We've got a lot of ridges on there that I'm not particularly happy with. What I'm gonna do is I'm just going to go back before actually sub-divide that. I actually think for this on Thursday now, yeah, that's looking much, much better. So one subdivision and that will bring that in. And then I think what I'll do is I'll try just turn this off for a minute. And what I wanna do is bring this in. So I'm just going to turn off proportional editing. I'm going to press S and X. And I just want to bring this in now I'm thinking I probably want to bring it all in. So I'm going to press Control plus Control plus, and now S and X bring it in, turn back on my TV. And let's have a look at that. And that to me is looking much, much nicer. That way. You can see as well that I'm probably going to have to put in a shop just on this bit here, just to keep this kind of smoothness. But it does look like now It's actually made out of wood, which is most important thing. Alright, so let's actually apply that with Control a. And now if we go in, we can see this part here that I'm talking about. So if I go in now, hold shift and click on this side, and Alt Shift Click on this side, right-click and Mark Shop. Now you can see we've got that beautiful angle that we're actually looking for. Okay, so think actually I'm really, really happy with how that turned out now. Now let's move on to this kind of a round part in here. I think actually what I'll do is I'll look at my reference again. We can see that it's like that. So slightly bigger than their wild thing I'll do is I'll actually steal a piece of mashed from here. I'm going to do is I'm going to grab this piece here. And then when I press shift D, I'm gonna move it up to the middle point and then I'm just going to pull it out a little bit like so. And then what I'm going to do now is I think I'm going to actually fill in maybe this bottom part here. So let's actually come in and think about burning the same width, like so. And then what I'll do is I'll squish this in a little bit more. So I'll press S and Y, pull it in a little bit more like so, pull it out a little bit. And then what we're going to do now is I'm just going to sub-divide this. So I'll grab all of this actually, I'll right-click and I'll click Divide. And warm base they're looking for is two points on each end. So I want to right-click again, sub-divide. There is my little points. I've got these points here is basically what I'm looking for. Because while I want to do is I want to grab both of these and press E and y and just pull them down into the actual violin. Alright, so now do we need all of these points on here? And don't think so. So what I'm gonna do is Alt Shift click, Alt Shift, click, Alt Shift click. I'm going to press Delete and dissolve edges like so. And now I'm going to do is Alt Shift, click, Alt Shift, click alt F, and then just fill it in like so. Now let's grab the whole thing with L, Then let's press E. There we go. That is the part that we're actually looking for. Let's say right-click and shade auto smooth again. Yeah, that's looking really nice. Now we need a false strings on this. So let's put the four strings on. So if I press one, what I'm gonna do is I'm going to press Shift S because it's a selected and then shift. Let's bring in another curve to be a path. Again, that'll be the easiest one to work with. And then All and why? 90? Let's pull it out first of all. So what I'm going to do now is I'm going to make it a little bit smaller. So I just wanted the whole length of the violin. I want to pull it out. Put it in the middle. It doesn't matter if it's not in the middle. Now what you want to do is just look on your reference again. And you can see that the strings kinda start from the end of here. So that's what we want to actually achieve here. So I'm going to press S and Zed and then pull it up to there. And then we can see that the strings are starting here and there just over there. So a little bit more thing. So essence add, pull it out a little bit. And I think something like that should be absolutely perfect. Alright, so now let's go into our actual curve. We can delete this pretty much out of the way. So we don't need this anymore. Back into our string then, and then one wins do is I'm just going to pull these back pins plates. So I want to pull this up to here. And then going to go into side view. I'm going to pull this up to here like so. And just keep working my way round it to the top. Top of here and then pull this bit into here. Now you can see I do have a problem when that big goes there. You can see that this is now going over there. And now I need to do is pull the string back. So maybe back a little bit like so, and then pull this one out right to the end. And then I want to press E and then just pull it over like so. Now the thing is, as you can see, is that this is kind of not quite going right. You can see I've got I need to pull this out. I need to pull this down and then I need to press E again, pull it out into place, into where it needs to go. I think that may be maybe I can pull this out a little bit more. Like so, but it's not looking too. I might need another one in here is what I'm saying. So if I grab both of these, shift, right-click sub-divide, now I can do is I can pull this down into place and get them a little bit tighter than what it was before. So something like that. Alright, let's see. Now, that's falling all the way down. I think actually that is, well now what we'll do is we'll try and create it into an actual string. So I'm gonna come over, I'm going to turn up my depth. So turn off the depth a little bit like so. Now we need enough room for four strings really so far on there, but we need to be able to see them as well rarely. So what we'll do is we'll try just pulling this here. So I'm gonna pull this down here. And we can see that red a little bit out here. But I'm going to do is I'm just going to press one on the number pad. I'm going to come back to this part now. So they say I want it to be here. And then we'll want to do is I want to right-click as set origin to 3D cursor. And then while wants to do is I wanted to come to my modifies add modifier mirror. And I'm thinking, is that going to do it? You can see that when I'm clicking that it's coming there, it's going to be the z. So I'm going to click those off like so then what I want to do now is I want to kind of bring these into place. So I'm gonna do is I'm going to press B and grab all of these and then kinda pull them into place, like so. And now we need to make sure that we've got enough room for a couple of moles. So I'm going to pull them out to here. And then I'm going to grab just the top of these. I'm going to pull these into place. Like so. And that is looking really nice. Now I'm going to do is I'm going to grab the whole of this one, so L. And then I'm going to press shift D, bring it over like so. And you can see we've got some crossover now, which is something that we don't really want. So I'm just going to pull them to that for now. I'm going to grab them. These parts appear Press be like so and then pull them apart like so. And then I'm going to come to this light will come to this one here. Maybe let's try and pull that over. Like so and then work our way down. Let's pull this one over, like so and then work our way down to the bone. So alright, there we go. That's looking pretty good. Double-tap the a. Yeah, I'm happy with how that looks. Now, the one thing I think I need to do is just then pull these up so they're actually going into the correct place. So in other words, I need them right into here somewhere. So disappearing basically under here. Like so. I'm just going to look at my reference again. We can see that pretty much disappeared under, into there. So that's probably right. Let's go back. Maybe they've gone up a little bit too were too high there. I'll think I can pull them both down. Pull them out a little bit. Like so. Yeah, like so. Alright, so now let's create these, these parts on top. So the way I'm going to do that is I'm going to, I'll probably actually put my cursor around here. So Shift S because to selected. And then I can bring in a, let's bring in a cylinder. Cylinder. Let's put the cylinder on 18. We don't need it that high. Then what I can do is I can press S. And what I'm gonna do is I'm just going to fit it along here for so I'm going to basically rotate it round. So all why 90 out, press the S been like so and then just put it into place. It's going to be around here, make it a little bit bigger a thing, something like that. Then we're going to do is I'm going to grab it. I'm going to press E and S, pull it out. And then E, like so. Then we'll wants to do is I want to create that kind of, you know, that kinda twiddle that it's got on it. So you can see here it looks kind of like this. That's kinda why I want to create my own version of that. It doesn't have to be like this one. I think what I'll do is I'll actually create that separately by using this part here. So in other words, if I press Control plus like so, and then Control Plus again, and then Shift D, bring it out. And then what I'll do is I'll spin it round. So all why 90? Like so. Then what I'll do is I'll fill this part in. So I'm going to press Alt Shift and click delete faces. Then come in and Alt Shift, click press the F button. And now I'm going to grab it all. And I'm going to do is I'm going to press S and Y. Let's pull it out. Like so. There we go. I think that's actually looking very nice. Now I'll want to do is just pull these ends out. So this, this maybe this then E, pull it into place. Yes. And now I've actually got the ability to turn those around as well. The only thing is I think this is all a little bit. No, actually it's the right size. Alright, so now we've got that in place, that's Right-click, Shade, auto smooth, and then double-tap the a. And what we'll do then on the next lesson is we'll get these more in place. So we'll have one this way, one this way. Then finally, what we'll do is we'll just put the little knobs and things like that on there. And then pretty much we are on to actually texture in this. All right everyone. So I hope you enjoyed that. I hope you really enjoyed the course and I'll see you on the next one. Thanks a lot. Bye bye. 29. Texturing Our Violin: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's grab this. Let's press 32, go into side view. And then all I'm going to do is press Shift D and I'm going to rotate it around. So all x, sorry, let's rotate it round. And then all I want to do is put them on the other side. Now the thing is you can say I need to bring this in as well, because it's probably going to be let's have a look from this view. Yeah, probably around there somewhere like that. Then all I'll do is I need to get the center of here. So I'll do is I can see the center is there. So Shift S because it's selected, grab both of these press Control J, and then all I'm gonna do is mirror them over. So control lay all transforms, right-click set origin to 3D cursor, then adding a modifier and bring in a mirror. And there we go. Let's apply this now. So Control a, and then all we're going to do is press Control three to go to the other side. I'm going to come in then and grab this one first. So I just want to make sure I've grabbed it all and then our annex than it that way and then come to this one. And then our next turn it the other way. There we go. Now this should look completely different from each other, which they do. Alright, really happy with that. Now let's think about what else we need on here. So let's open up or pure ref. We can see we've got probably one little knob in there that we should put in rarely. And apart from that, I think pretty much we've got the basic outline. I'm not going to put the arm rest or anything like that on. Alright, so let's actually close that down. And then what we'll do is we'll just pull out the little knob. Where did it go? Let's see. On there. Yeah, We'll put it on there. Alright, so let's come into this part, Shift S because two selected shift a bring in a cylinder. Let's spin it round. So our X 90, let's make it smaller, like so. And let's put it around. Let's see around here somewhere. Like so. I don't want to interfere with the strings or anything like that. Means I'm going to have to make it a bit smaller. Like so let's put it into place. Let's then grab the top of it, pull it out, and then all I'm going to do is press E and S layout like so. And then E, pull it out like so, and then right-click and shade auto smooth. Now the time to actually fix these y's now, so all I'm gonna do is I'm going to apply my mirror. I can't apply my mirror actually because it's still a curve. Well, I wanted to do is turn down the resolution. You can see as soon as I turn that down, it actually made them not quite. Actually, they'd gone into the right place, I think so. Let's turn it up. Just one yeah, one thing we can actually get away with, one, looking at the ends of here. I think I just need to pull those out once. I'm not sure thing. Let's turn it down, open another one like that and then think before I finish, I'm actually going to put these not over the top because they shouldn't be over-the-top. I think what I'm going to do is just bring those more into place on this bit. So I'm going to grab both of these difficult, bring them more into there, and then grab one. Look more into place. Like So. Anything that looks better apart from, I need to play a little bit further so it's in x. So looking now, I can see here it's not quite working. So I'm going to do instead is I'll just grab all of these. So all of these here, right-click sub-divide. Then I'll put Me too in the middle, like so, then I can pull these out. And this one especially like so. Now a thing that looks much, much better. Alright, happy with that. Now, let's come to Object. Let's convert to mesh. Let's have a look at those now. Yeah, and that's a really nice okay. So we've got all of this split up at the moment. So we've got these split up. I'm going to hide those out of the way. These split up, hide those out the way this split open when hide out of the way. This split or pied the other way, and this split up hide the other way. Now let's open up your actual reference guide. So if you can open up your reference on your other screen, all bring it in. And then what we're gonna do now is actually bringing the materials. So let's have a look what material we've got first. So we're gonna go over to our textures again. Let's have a look on our Atlas one. And I'm going to come up and have a look on here. So we've got, I don't think it's any of these folds, the actual wards. So I'm going to look at my next one, which will be the atlas three. Let's have a look at this one. And I'm not actually think it is the one ad I think let's have a look. Outbreaks would flow out. Let's do that one. But it's gonna be it's gonna be atlas one actually. Yeah, coated award. I think we can actually use the coated wood and turn that then into the color that I actually want it. So it is this one here. I'm just looking around the outside. I think what I'm going to do is I'm going to use this and have it a couple of different colors. Then we've also got the violin and brass and things like that. We've also got the silver. So this is for all the outlets, one is basically for the main part of the world. So let's do that. What I'm gonna do, the y's, I'm going to create a couple of new materials. So. We're going to first of all come in and we'll create a new material. So click on it. Click New. And I'm also looking at this. I need to fix this actually before we do anything. Yeah, it's not quite in line. All I'm gonna do is you can see as well that this is still an actual curve, which is actually really handy because I forgot. So I'm going to do is I'm just going to put this onto proportional editing. Then going to simply pull it out a little bit just to get it into place like so. And then I'll also do the same on this one. And this one will also pull those out a little bit, get them into the right place, like so. Then I think I will pull it out but turn it than it down like so just to make sure they're still cow and there they go, That's perfect or caught part from this bit now. So let's pull these two out. From both of these. Hold them out. Yeah, that is looking much, much better. Nearly forgot about that proof. Okay, So let's come onto objects. And what we'll do is convert to mesh. Now will actually join these. Actually won't join them up. Welcome to this part first though, shades autos move. Let's turn off the auto smooth just to get rid of those parts like so. And then we'll do this part first. So let's command to material new. And then we'll call it a violin. Violin main. And then we'll do another one. We'll call it new, so new myelin black. And then we'll go to another one and we'll call it new violin. We'll call it a violin, strings, like so. And then we'll do one more. And I think that's all we need, but we'll see violin. Brass. Blank. So, alright, so let's come to the violin main shading, Control Shift T. And I'm going to bring in this one here again, all the way down. The principled. I'm going to zoom to my violin now, and this is clearly not it. I'm going to grab all of my violin. I'm going to press you smart UV project click. Okay, Let's go over now to UV Editing. And then what I'm gonna do is now what you can see, it's not actually unwrap very well. That's not what I want. So what I'm gonna do is I'm going to press Control a or transforms right-click. So origins geometry. And I'm going to press you smart UV project again. And now you can see some wrapped, much, much nicer. Alright, so let's grab them all on this side, press the S button without proportionality num. And that's dropped these now into here. And actually see what that actual ward is going to look like. I can see actually that that word is really looking nice. It's got really that nice shine. I'm actually looking for a while I'm going to do now is I'm just going to make them a little bit bigger. And then kind of just grabbed them one at a time and just fit them into place. So you can see here I'm grabbing them, so algae and then be grabbed one of them, press B on troll plus just to make sure I've got them all G, dropped them in place and be grabbed them all. Control plus and then G. And then G and drop them in place like so. Here we go. Alright, that's looking really cool. Now let's come in and go to our shading panel. And we can see this is what it looks like. Now we need to get this a more yellowish color. But what I'm going to do is I'm going to probably bring in a color ramp, or I could bring in a hue and saturation. We'll try the UN saturation first. If I press Shift day and bring in a hue and saturation. And the reason I want to use that, of course, is because of this year, this use sometimes can give you a really nice kind of yellowish color and that is what we're looking for. You can see it can actually change the color of the actual word. So I'm just going to put it up there. Then what I'm going to do is going to bring it back very, very slowly. If that is the color that a one and actually think it is. Now if I turn down the saturation, then it up a little bit. So that is the color that I'm actually looking for. Well, that's perfect. Now what we can do is we need to fill in these black holes here. What I think I'll do is for the violin, I will put it a violin holes as well. So I'm gonna make a new violin holes. And this one, I'll actually create my own. So all I'm gonna do is I'm going to come to my base color. I'm really, really dark. And then I'll go in now to this parts here. So what I wanna do is I want to grab this one. And I want to actually click Assign. There we go. Now, the other thing is, it's not the right darkness at the moment. And the reason for that is because we need to actually pull up the roughness a little bit. And let's just try as well increasing the metallic. If that's going to do anything. There we go. Now that's looking right. Alright, so now the outside of this, basically the same thing. What I wanna do though, is I want to actually grab this, grab my violin, press Control L, and I'm going to link Materials. And then what I'm going to do is I'm going to press the top. Click on this one, press tab. And I'm going to click on this violin mean the cosign. And now all I need to do is just go and unwrap this. So you smart UV project. Okay, Let's go to UV Editing. Now. One way to do now is just needs to put these in place. I'm going to press S. Thank them. Smaller, drop them into place. I think they're fitting in. Yes, they are. And then let's have a look. Let's actually was, well, put this onto. There we go. That's looking really, really nice. Now we can see that we need to pull these back a little bit so we can actually pretty easily do that. Is it the same on both sides? Yeah, It's not all the same on both sides, so it's just the same. Unlike pieces like this. So all I'm going to do is just before we finish, I'm just going to grab pieces like this and just make sure that they're pulled back enough. So Shift Spacebar, bringing my move and just pull them back a little bit because I can see. I'm also going to make sure that proportional editing is on. That will make the job a little bit easier because I can just basically come one leg back like so they can another one pull it back. And we go because we don't want all those gaps in there. Even though it's very, very small, I would soon make sure that it's done. Correct. I don't want all those. Go to the other side now and just have a look. You'll just need to lay on the GI. He put pins place like, Oh, look, going all the way round now can see that I just need to pull these bumpkins place. So make sure this one's in. So the thing we've actually got it, so I'll tap the a. Now we go rarely really nice. Alright, so on the next module we'll do is we'll carry on and hopefully, hopefully we should get this violet and finished because it's been a fair few lessons just on this violin. Alright, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 30. Creating Simple Shelves : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's go back to modeling. What I'm going to do is I'm just going to press Alt H, bring back everything. I think looking at again of my reference, I need to pick these parts. So I'm going to pick this part, this part, and this part, and I'm going to join these altogether. So Control J, Let's join them all together. And then what I'm going to do is I'm going to pick this part, these two parts. So these parts, I'm going to join these together, so Control J. And then what I'm going to do now is you can see I need some shading on here. We'll sort that out once we actually get a little bit further, I'm going to do now is let's actually come and unwrap these. So I'm going to come in and unwrap this part. We'll do that next. So what I'll do is I'll press so you might UV project click. Okay, and we've got this on violin main already. So what now I'll go into ease my UV Editing. Let's have a look then what that's actually going to turn out like. So you can see a bit of a mess right now let's press a S without proportional editing on. So let's bring it into the place where I want it. So like so there we go. That's looking beautiful, really, really happy with that. Then that's come into these parts now. Now these are the violin black I was talking about. So again, I'm going to grab this, grab my main violin, press Control L link materials. And what we want now is this violin black. Now they should be this black here. I'm hoping, I'm hoping I can get it in there. So what we'll do now is we'll click on these. We'll press Tab. I'll press a, I'll press U, smart UV project click Okay, and then press a and I need to make them much, much, much smaller, kind of fit onto this space right here. Well, let's make sure we can get them to fit. We go, now this is the best one, so I'm going to press L, then grab these. I'm going to put them over here. Like so. Now we need the strings. Now the thing with the strings is probably going to need and the other one. So unfortunately the silver is on the other ones. So I'm going to do is I'm going to call them to my string. So apparently we don't actually need this violin black anymore, which is really handy for Osaka minus that off. So now let's come to our string. So the strings, we're gonna go to the shading panel. And we actually, I was thinking that we might need to use an actual map or something like that. Birthing water can probably get away with doing is let's have a look which ones we've got here? We've got Atlas three and Atlas one, I think I'm probably get away with that list three. Well, let's give that a try. Let's then come to the strings, grab the violin, control L link materials. Then what we'll do is we'll come now to our strings, press tab a to grab everything. And then what we'll do is we'll put it on. Where's it gone? Oh, violin, main violin, strings. I'm wondering. This violin strings I need to change to all Atlas three, like so. Then what I'm going to do is I'm going to actually assign that to that. Alright. We might actually have already got in there. Let's press you smart UV project click. Okay, Let's then go to UV Editing. We can see here are strings. All. We need to put this onto the other one that we have so we can see that this is the male here. We know that because if we open up our reference guide, textures, Atlas three, and then open this up, we can see silver metal is this one here. So we know that, Well, let's close this down. Let's press a S, Bring it down and let's pull our strings on their double-tap, the a. There we go. Looking really, really nice and you see we've got a really nice shine off those. And finally then just this bit, I'm going to actually join to this. So Control, Control J. And then what I'll do is, well, you can see that it's nearly gone the right place anyway, so I'm going to grab it. I'm going to then put it onto this one here. I want to press a S. And it's gonna go over here because this one here is gold. There we go. All violin is actually finished. Okay, so that's looking really good. Now before I finish, what I want to do is I just want to put this in the place that it's going to go get the right scale and things like that. I also want to make sure that it's all joined together. So all I'm going to do is I'm just going to grab all of this. I'm going to press Control J, then join it altogether. And then what I'm going to do is I'm just going to turn up the altos and move just a little bit just to get rid of these edges here. So turn it off. Like so. There we go. Now we can actually press Control a or transforms rank flexor origin geometry. Now let's scale it to where the size is going to be. The violins actually a pretty small, they're much smaller than what you think. They're not like a guitar or something like that. They probably even smaller than this, probably going to be more of that size. If you want to pull up a reference just to get the kind of sizing what it should actually be. But I'm thinking, let's say grab a quick image. So I'm just going to grab a quick image of a guy playing a violin. So a guy playing violin, I recommend you do the same. And there we go. You can see it's, it's probably even smaller than this. So when I'm looking at it's probably going to be around this size here. Oh, something around that. Because what he's gonna do is it's going to print in his neck. And then he's gonna be playing with his hand on here. So I think something like that, actually pretty small. Now let's bring it over. I'm going to do is I'm going to just put it in place here. So it's gonna go under there. If I press one, put it into place where it's gonna go. So something like that on the there. Yeah, I think what I'll do is I'll I'll put a little shelf under here that just fits down to the bottom of via something like that, I think looks absolutely fine. Alright, so that's that. Let's bring in our shelf then. So I've got my violin now I'm going to press Shift S because to selected shift day, Let's bring in a cube, made the cube much smaller. S and Z. Again, we want it relatively thick. Well actually this is going to sit on, don't forget as well. They needs to fit on the hair because it's just going to be balanced on top of something is going to actually be holding it in there. So just don't forget that bit. I want this thickness of the shelf to be a little bit thinner, I think something like that. And then I'm going to pull it out. So S and x, like this. I think that looks really nice. And then I'm just going to check to make sure it's against the wall. So I want it against the wall, like so. And then Shift S to selected. And let's bring in another cube, the cube. And this then is going to be the actual bit that's going to hold it in place. So I'm going to actually give it a try with the bevel. I'm going to pull it S and Y, sorry, S and X. Pull it in by over. A little bit. Hall opens place and welders. I'll pull this down now. We'll face legs three on the keyboard. Pull it down. Like so. Now can I actually bring it up? So it actually looks really nice. In other words, can I get this kind of wavy line going there? I think what I'll do is I'll actually pull this here. Like so. And then what I'll do is I'll Bevel this off so I haven't come to here now. Press Control B. I'll do is I'll Joel's bevel this off. Now we've controlled Bay, pull it back to there. And then what we'll do is we'll just turn down the actual shape and then we can end up with something like this. Then all we need to do is just come around the back of it, grab it with face-like. So three on the number pad, grab this face and then press a and pull it out. There we go. There is the actual shelf, Don I'm going actually pulled out a little bit more just so it goes against the wall. I'm also then going to pull this bit back just so it's actually in the wall. And then we're going to do is I'm going to just pull it over so we're shifting. I'll be, I'll be a bit lazy. I'll just do that instead of actually mirroring it over and if in like that. Alright, so that's, that, That looks really nice. Now let's think about actually bringing in some materials on these. So first of all, I'll just grab it all. Control J, like so press a and then I'm just going to press you smart UV project. And then I'm going to grab this, I'll grab this then the cupboard Control L link materials come back to here and you should see now COVID ward is there. If we put this on material now, let's have a look. I might need to obviously move it into place, which I'm going to do. I'm going to grab it all, go to UV Editing a, S, make it smaller. And then we just need to bring now our other one in because this is not the right one. So let's go walk. Is it this one here? Yes, it is. And I think it's this one here. So g dot to zoom in tab. Let's have a look at that. And that looks really, really nice as we can see. I'm just making sure that the ward is going all the right ways that I want it to. We can see here, for instance, that this word, though this go into here, doesn't seem to be going. So I'm just going to grab them both. Press U on the ramp and then press S, and then all 90. Then g, put them in place. And now you can see they're looking much, much nicer. Now one thing I'm worried about is the fact that this is looking a little bit blocky. Actually, they're going, they're going the wrong way. Alright, let's turn them around. So all 90. There we go. Now they're going the right way. It's looking a little bit blocky, so let's shade auto smooth. Let's see how much I need to turn this up to actually get them to look right. And this again is the problem with the actual the cylinders and things like that or even beveling, you might need to bring a few more bevels. And but I think actually I've kind of got away with it. But what you can do just in case is come in, grab all of these and just bevel them off again. So press Control B. And all we need to do now is just reset the shapes so you can see if I undo this, I can set the shape too. I think it's nought 0.5 actually. Yeah, no 0.5. There we go. Now you can see they're looking much, much bad. Alright, so that's that bit. So what we'll do then on the next lesson is we'll actually make a stand for this violin to actually sits on. Then we should be able to start, we'll actually start making some books and things like that to actually fill out this, this actual shelf here. We've got our canvas, we've got our microphone and all that sort of good stuff. All right, I'm going to save my work and I hope you really enjoyed the course and I'll see you on the next. And everyone, Thanks a lot of AI. 31. Working On Our Blender Techniques : Welcome back everyone. Blend the three beginning of step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's come in and think about actually creating the underneath of it just so it sits on this actual shelf. So I'll do is I'll grab both of these, Shift H to hide everything else out of the way. Put it on to object mode so I can really see what I'm doing and grab my actual shelf. You can see if I bring something in, it's going to come right in the middle, which is absolutely fine with me. I'm going to do is I'm going to press Shift a and we bring in, I think, another curve. And we'll bring in a Bezier curve this time. It already has some of the actual shape that we're actually looking for here. So all I'm gonna do is gonna bring it in. I'm going to rotate it around with RY and the other way. So it's all y -90 this time. And let's bring it into place. Rotate it round. So our next rotate it round like so. And then just bring you up. And now let's just see if we can actually make it fit into place. Something like that. Let's go in. And what we're gonna do is we're first of all, we'll press three on the number pad. I'm going to press Shift Spacebar off with bringing my move tool when I bring it up a little bit. And then I'm going to grab both of these right-click sub-divide. And he should actually by now be a bit of a wizard with actually working with curves and things like that. Grab this curve. Now I'm going to press E. Now the difference is when you're working with paths, you don't actually get these, these pull in systems where you can actually bend it and things like that. But you do get that with the Bezier curve, the cold handles, and you do get that. So now I can actually then these the way that I want, as you can see, now I can just grab the center, pull it back in its place, bring in another one. So sub-divide. Bring this one into place. Now. I think I'll just move it around and then what I'll do is I'll just I'll bring in another one. Sometimes it can look a little bit of a mess when you're doing this. Well, basically you can actually delete those ones. You actually happy with how it looks. So you can see now, I'm just going to rotate these around and I'm actually going to then delete this one. Delete that says, and you can see now it does make it a little bit easier to actually put them into place. And I want to bring it down and press G, move that into place. And now basically I want to move both of these over into place. So this one's got a little bit disjointed now, so I'm just pull this back like so. And then one went to do is I'm going to pull these both forwards. Like so. I'm thinking that if I move it to the side now, mine actually be okay to actually hold this. But now let's give this some thickness and then we can see them better way. It's actually going to look like. So I'm going to do is I'm going to open up the geometry. I'm gonna come down to the depth. I'm going to open this up a little bit. And I can say that that's actually fits quite nicely. So what I'm gonna do now is just pull it up a little bit so it just fits under there like so. And then I'm going to rotate it round. So R and Y just rotate it around. So it looks as though he's holding it a little bit nicer. Then we're going to do is I just need a bit now just for this kind of to sit on. So again, we've got kind of all power in our cursor in the center. So I'll compare shift day, bringing a cube, the cube smaller, like so, and then work on those. I can sit this on their essence. Well it down like so, pull it up and then S and X, pull it out. And then all I need to do is just make sure that first of all, it's set on there, which is, and then just pull it up. So Face Select, hold it into place. Like so. Now I want to do is while I've got my cursor in the middle, I might as well mirror this over the other side, but first of all, I'm just going to turn down the amount of resolutions on my actual curve, way, way too many. So let's put it at, let's say four. And then what I'll do is I'll just mirror it over. So add modifier, mirror over to the other side and you can see they're not mirroring because I've not actually changed it yet, so I've still got my orientation that. So let's right-click the origins 3D cursor. Let's then see if I can get it over the other side. And you can see again, it's not actually mirroring. And the reason for that is it just needs to press Control layer transforms right-click set origin to 3D cursor. And hopefully, there we go. Now it's actually working and in place and that looks absolutely fine. Okay, So now I want to do is I want to join both of these together. But before I do that, obviously this is a curve at the moment, which means I can't join them both together. So all I need to do is come to object on the two mesh. And now I want to do is press Control J, join them both together. And now I just want these are guest to be some kind of brass. I think brass would actually look good holding these in place or even metal. It's up to you which one you want to go with. So being as we've got this one open, and should we use just the mouse? Let's actually give that a try. So I'm gonna do is I'm gonna come over to the materials. I want to click the down arrow and let's go with, I think it's Atlas three. So atlas three, Let's grab them. A UV, smart UV project, okay, and then let's bring them now into place. You can see the very, very long on here. So let's just pull them into place. I'm just looking to making sure. Yeah, I think that's the way that we're gonna do. We're gonna go with the silver thing. So now I can just make them smaller. It doesn't matter too much with MATLAB again, we're not looking for any wood grain or anything like that. The main thing that we want to make sure is that these holes are filled in to start with, we forgot about the whole. So I'm just going to Alt Shift and click press F. Then Alt Shift and click press F, like so. And then all I'm going to do is I'll think, I'll just read them, wrap these so I'm going to press L, L, you smart UV project, then make them smaller, so S, and then put them into place. There we go. Alright, so now let's press Alt H, bring everything back. Let's have a look at that. There you go. That's looking really, really nice. Alright, so now let's pull up our main actual reference guide. And what we need now is we need some books, we need a canvas, we need a microphone. And finally, we need this flute. So I think what will actually create now is, let's think about, let's think about creating some books. Something a little bit different, I think is what will do. Alright, so let's do that. So what I'm gonna do is I'm going to come back to modeling because it's kind of a pain working in my UV space. And what I'm gonna do is I'm going to move my cursor over here somewhere. And then what I'll do is I'll press Shift a and bring in a cube and we'll make a book. So S X, generally when I'm making books and make a couple of style of books, then from there, I can kind of make all of the books that I want. So with the first book, all I'll do is just come in and Bevel off these two parts. So you can see here control V, bevel off these two parts like so. And then you can see we've got one book there. And then we're going to do is I'm going to press Shift D and then I'll come in to this one. But I'm not going to press shift D. I'm going to grab another cube, make it smaller, like so, S and X bring it in, like so. And then S, MY bring it in. And then what we'll do with this one is I'll pull it out on this edge and pull it out on this edge, like so. And then come in and Bevel of this. So Control B will turn down the bevel, but it's just one. There we go. We've got a couple of variations of books. Now what I have to do is I just have to make sure I've got enough room to create my actual the parts where the actual page is gonna go. So if I press I now can see it brings it in. Now the thing is it's not bringing it incorrectly. And that's simply because I need to say reset my transformation. So set origins geometry, press I, and now you can see it's coming in really nicely. And now I can just press E, enter alternates and bring it in. Holding shift. It's very uneven at the moment. We need to offset even on, it's nice and even that is the first book. Now let's come to this one. So we're going to grab each of these. I'm going to press the eyeball and bring it in and again, can't bring him properly. So all transforms. Then I like so. And then I'm going to press E and two alternates, bring it in. And then finally, offset even on. There we go, a couple of really nice books. Now, let's think about Malkin a seam on these because it is going to make it very easy for us because we are going to need to change the actual book covers. So if a first of all come to this one, and what I'll do is I'll come in and, uh, basically got this already marked all the way round knee can see this. So what I'm gonna do is I'm going to come in and moccasin. Then I'm just going to minus the seams off of here, like so, so right-click and legacy, and there you go. It's still marked all the way round. Now let's do the same thing on this book. So again, right-click, Maxime, bomb, Right-click, Clear. Same. Okay, there we go. Now the books, Let's see which one they're actually on. So they're going to be on, let's have a look. I think they're gonna be on Atlas one. So have a look. I think we've definitely got pages on here. Or if I open up this and there we go. So we've got books and we've got the books sides of the definitely on Atlas one. So we're going to be using that. So I think the first thing we'll do is we will join, join these together. So Control J. And then what I'll do is I'll just put it on Atlas one, like so. And then what we'll do on the next lesson is we'll get the pages of the books, will make the many variations of the box, and then we can actually put those in place or everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 32. Welcome To The Blender Asset Manager : Welcome back everyone's blend the three beginning, step-by-step guide to isometric rooms. Now, actually before we actually bring in any textures and things like that, what I'm gonna do is I'm going to actually play you a short video of the blender, the new blender asset manager that was brought in to blend it in Blender three. This is going to show you is that when we're building out these rooms, it's a really good idea to create asset. So in other words, create the violin asset, create this musical no asset. And then what you can do in your next builds is you can actually use those in the next bills. Now something like the actual bookcase here probably ain't going to be used in Euro, the builds and things like that. But I think the little details, the piano, for instance, to say they can be used in other bills, making it really quick and easy to actually build things out. Also, you can think about, you can actually save out materials as well. So you could make the leather couch version of it and ash red or a nice green or whatever you want rarely. So I'm going to play that now. I hope you enjoy it and I'll see you when this is over. Welcome everyone to the short introduction on the asset manager within blender. Now before we get started, let's take a quick look at what we're actually trying to achieve here. So if you see on the top left-hand side here, I have actually one called assets, which we're actually going to create. If we actually click on that, you'll see opens up a new window. And within that window, we have assets on the left-hand side grouped together. Not only do we have assets, we also have actually a material library as well. So we're going to learn how to actually put these into this group and I'll blend it can actually find them. But before we do that, let me just show you how they actually work. So within my stylized assets, I have all of these assets which are from multiple courses, and I can simply drag and drop my ASA actually into place. Now the asset doesn't just come in with the actual model. It also comes in if I click on my materials tab with the actual materials so I can bring any asset and they should come in nice and flat view into any scene that you want to create. Now with the actual materials, if I actually just bring in a cube, so I'm just going to bring into Q. I'm going to move it over to the left-hand side. I'm going to come over to my stylized materials and then simply going to drag and drop onto my actual cube. And then you go, you can see this one is glass. I've only gotten materials at the moment, so you won't actually see through it or anything like that. But you can see that we can just drag and drop materials onto our actual cube and things like that. You can see that this one is wards and you can see how easy it is just to drag and drop them off. Now some of them depending on how complex they are going to take a little bit longer. Actually, it's placed on your cube. But apart from that, they worked really, really well. Now enough of all that, Let's go back now to a brand new blender file and I'll show you exactly how we're going to set this up. So here we are in our blender actual default view. And what I'm going to do is I'm first of all going to come over to the right-hand side. I'm going to come across and you'll notice if we come across general, we have one that says asset. Now, some of you might not actually am assets. And if you haven't got asset, just click on something like modeling. We'll click on modeling and you'll notice now that we've got another one called modelling dot one. And the reason is, of course, because we already have one called mumbling. Now if I come and left-click, so double left-click on here, Let's call this asset like so. And then what I'm going to do is I'm going to right-click. I'm going to bring this to the actual from, so we now asset layout and modeling. Now the moment this is just a copy of my modelling and I don't really want that. So what I wanna do is I want to come down to the left-hand side. And as I come to this corner, you'll see this little cursor appears. And if I left-click and drag from the corner, left-click and drag up, you'll now have actual two windows. Now what you want to do is you want to come over to where this actual icon, you see it, left-click it over on the right-hand side you'll have one that says asset browser. And there we go. So now we actually have our asset browser. And I can click on this anytime that you want. That's important for this to actually work. That first of all, in the present time, just to get out of my edit view, if we come over to file and I calm down, well, I want to do is I want to come to the bolts. I don't want to save it as a starter file, but you don't probably want it here, like looking here in the assets when you first open up Blender. So if you don't want, not just come to modeling. And then what you're gonna do is you're gonna go to File Depot, Save Startup bow. And now every time you load a blender, you're also going to have this asset manager in place. Now how do we make groups? So the wavelength new groups, as you can see here, we can change this from all. You can see it's Hong Kong file. And you can see there's also an unassigned bond. Now it's important that we keep that one, the sign button then because many times I've created assets and I can't find them. And of course there'll be in the unassigned. Now let's create a new group. So if we create one called material. Materials like so. And then we know we can place all of our materials in this one. So it's just a little Plus to create a subgroup under 0. If you want to, subgroups in London materials, you just click the Plus on the actual materials and then it'll create a subgroup under this actual materials. As you can see that, alright, you can see there's also a little star there. That just means that we need to save this blend file out. So just save the blend file out if you want, if you actually want to save out these materials once you've actually got them in place. Now, how does blend know where to actually look for these assets? Well, what you need to do is you need to come up to Edit, go down to Preferences. And then what you need to do is you can see over here where it says use a library. This is where Blender needs to actually know where to actually look. So you can see mine at the moment, I've created a desktop icon that's called Blender assets. And that's where I'm actually a time blender to actually go and look. Now the thing is any blend file that you create, just create a copy of it and actually put it into this new desktop blend. But it doesn't have to be in your desktop or it needs to all be in the same file to actually work. Once you've actually done that, then we can close that down or Save Preferences. You can also do it that way. Close it down. And now you'll see if I come down to use a library, you will have a problem here that we haven't actually got anything in there. So if we go to Open preferences and now we click on this, and I want to go to my desktop. Now we're going to find my blender Asset Library, which is this one here. And you can see I've got all of these blend vowels in there. If I click Accept, now, close that down. And now when I come and actually click on my catalog, you can see that I've got all of these actual materials and things in place. This is why it's really important that you actually make sure that you actually put in your blend vowels into that directory. Now the next thing we need to discuss is how to actually create our actual assets. So for instance, let's create, hey, materials. So if I come over to the right-hand side, I'm just going to create a cube material, like so. And then what we're going to do is I'm going to make a base color. So let's just change the base color to a red. Let's put it on materials so we can see it. And there we go, bar cube material. Now I want to do is I want to right-click on a calm down and Mark, as I said, and you'll notice now that it's got these kind of books stacked together. And that basically means that this has been saved out now as an actual material. Now of course, this blank file hasn't been saved out into my assets. So all I need to do now is go to File, Save As, and then I'm going to go to my desktop and come to and blend the asset library, which is this one. And now I need to save this out as a blend power within here. Then what Blender will do is it will pick up that this is a blend file within that actual file. So this one here. And then it will actually, you'll actually have access to this material. Now the next thing you need to do is you need to actually, let's save the Cuba, for instance, instead of an actual material, let's say that an object, so what you do is you right-click, come down to mark as I said. And again, you'll see now that we've got those three actual stuff books. And now because you, I've actually saved this blend bile out into your asset library every single time now that we opened lender. So if I close this down and reopen Blender, you'll see you can go to your assets. And now we can see that we can go to our user library, open preferences. And let's find our actual blend Asset Library. Click Accept, close that down. And there we go. You can see I've got all of my assets and you can even see the ones that aren't actually assigned. We can see I've got all of these assets in place already. Now, just before we finish up a couple of things to remember. First of all, when you go to Edit and Preferences, you will see that this is normally red. You just have to name it something so it's not actually read, then you won't have any problems with it. Second thing is that once you've taken the time to actually create all of your assets and all of the materials and things like that by right-clicking them and mark as an asset, just remember to save that file out in the actual place where you saved them out. So for me, it's my blend net asset library. If you don't save out a separate version of blending there and you end up overwriting it, then you will lose all of those assets. Of course, basically it's a blend file just with all of your assets in there. That's all that should be in there. Alright everyone. I hope you enjoyed that. A few troubleshooting problems at the end as well. And as they say on with the show, welcome back guys. I hope you enjoyed that. And what we'll do now on the next one is we'll actually start texturing these books. And now you understand how you can actually start creating your own blender assets and bring them into your other scenes. Or everyone, thanks a lot. Bye bye. 33. Realistic Placement Of Props : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms, and this is where we left it out. Alright, so now let's come in and actually give these, well, we'll do the pages first because that'll make the most sense. What I'll do is I'll come in, grab both of these pages, click you and unwrap, let some ramp those. Let's go to our UV editing them. And then let's also put this on the one we want, which will be scroll down this one here. And we can see our book pages are here. So if I grab these, press the S bar and bring them into place first, then I'm just going to press their spot and again, hold them out as dots. Humane. And I've looked at what they look like. They're looking absolutely fine. And now I can do is I can actually come and grab pretty much. You can see that they've bomb rap like this. And this is kind of not why I really want, what I really want them to do is kinda unwrap from around here, going all the way round here. And then I want to unwrap them, this part here to give me the actual pages. So you unwrap. And there we go. Now, let's spin them around. So all 90, let's press S. And then what I'm going to do is and when Joe's going to then put them into place. So if I press G, gonna get them to be the right scale. So S like so. And then g beta one, the front of this book, about the same scale as out. So g, y, S, and Y pull them up into place. Like so. Now you can see at the moment, this book is looks good on the front. We also needed to look good on the back as well. So you might as well do is you might as well end it around here. So in other words, grab the center of here and then just press S and X, bring it in, and then press G, and then just put that in there like so. Now you can see that's looking quite nice, but I'm thinking they probably needs a little bit more on this. So I'm going to try and put it just to the side like so. Then when we introduce some pressing S and eggs are laid out a little bit like so. And I'm thinking that looks much, much better than where I did in the other way. Now I'll do is I'll come around to this side and I'm going to pick a color that I want it to be. So I'm just going to grab probably let's have a look. Probably more going up to here. Then what I'm going to do is I'm going to press S and X n and then make it smaller and then G. Let's pull it to the orange, so something like that. Now you can see it's looking quite nice for a bulk. One thing is I think actually I should grab all of these instead. So what I'm gonna do is I'm going to press you unwrap again. Like so I'm going to press S, Then I'm going to bring all of that. And so if I press G, Ln, S, like so now thing that's located, that's looking much, much nicer like that. I think the one thing I'm worried about is the fact that the resolution doesn't seem very good. So I'm just going to play out a little bit. Then one Wednesdays, I'm just going to press S and Y, wishing nothing that should be absolutely fine like that. Alright, so that's that bulk. Now you can also see that we showed really think about these parts on here as well. So I'm just going to grab all of these like so. Then what I'm going to do is just press U, unwrap. Now compress a S. And the great thing is because we've done all this work now, we can basically use this as our template. You'll see what I mean once you bring this in. So if I put this around here, Let's say, let's make it smaller on the actual UV map. Like that. That's looking really nice. Now let's think about this one here. We're gonna do the same thing. Now. I wish there was a way to copy the UV maps and things like that, but there really isn't. So I'm gonna do is I'm going to do a similar thing with this. I'm going to grab it going, let's say all the way round there. I'm going to press you unwrap. And one Wednesdays, I'm just gonna pick the other book. I'm going to come in. Take this bulk, something. This then well, there is now welcome to the side of it. When it comes to this side, I'm going to press U on ramp and a, make it smaller. And let's bring it into place. So G into place like so. If that's the right way round, yes, it is. So all round. And then what I'll do is I'll go to the back of the book now. I'm going to pick, I think, a nice orange colors. So you wrap a S and D, An S, x and g, x. So g into play somewhere like so. And now let's just pick again this going round here, 0 control clicking. When I also do the bottom of it as well. So Shift-click control, click OK, click and press U, ramp, an a, all the way down and then G back in place. So S and G into place like so S and X in a little bit and let's have a look. Yeah, I think I'm really happy with that. So now I'm happy with that walk can do is. I can create the rest of the books now and then we can actually work on the size and things like that. The moment I don't know whether these are going to be the right size, but what I can do now is I can actually split these up because basically we've got everything we need from these. So I'm just going to grab this one, be selection for both of them, control a whole transforms, right-click that origin geometry. And that's actually really good because blender allows you to actually great transforms and things like that both at the same time, which is actually really helpful. Now I'm just putting them near my man just to see the scale of these books. You can see the pretty big at the moment. And now I'm going to do is I'm going to grab this bulb. I'm going to grab another book now, so Shift D. And what I'm going to do is I'm actually going to create a little bit bigger. So S said like so we might need to make these smaller. They might not actually fit on there. I'm going to then grab this one. So Shift D and then grab. Let's make it a little bit thicker. So S and X. So let's grab a few moles. So Shift D, like so and then that's a mess. Yeah, we'll mess around with grab these two as well then what we'll do, then I think we'll get maybe a couple of moles, so we'll grab both of these. And then on this one, I'll actually make this one a thin one less than x. And this one, I'll make very tall, so Essence. So now we should have enough to actually play with. So all I'm gonna do now is just going to go into this book and you can see is what's happening with that one. Why is that like that? I have no idea actually why that's come like that. Thought I'd actually fix them. So let's have a look. I'll press L on this one. I think it's because I'm grabbing all the pages as well. So I'm gonna do, I'm just going to be L. Well that one's in there as you can see. So all I need to do now is just move it to the side. Like so, then you'll end up with something like that. Then all I'm gonna do with the next one, I'm going to do same thing. So l and then G, move it to the side, like so. That's that one. And then I'm going to come to this one. I'm going to press L and D. Same with this one. So L and G. So trying to make them so they're all actually very different from each other. So those two are different. Let's come into this one then. So L E, so on. He don't want to squish this one in so S and x Nicely than this one. L, E. And I really liked this book up here, actually, I like the cover of that. So that's the next spring. It, it has some x, bring it in. And then finally, let's look at this one. So L D. Alright, so have we got enough books? I don't know yet, boys, easy now to create more books if we need them. So again, where are we going to put the microphone, the microphone of things gonna go in here? We can only basically put books across these parts here. Not really going to look right, I don t think in the actual bombs, so I don't think I'm going to do that. You can see as well on the reference that the mainly in the top's like this. So let's actually put these into place. So I'm basically going to grab all of the books. I want to press one on the number pad and we're going to see how they're actually going to fit into place. You can see some of them are probably going to be too big on to make them a little bit smaller. And I'm going to try and fit them into place. So you can see here essence edits, pull it down on that shelf as well. I want to make sure they actually fit. So the thing is I'm going to grab them all. I want to pull them into place and just leveled up with the actual shelf. So you can see here, they're going to go probably a little bit like so, hold them all. So they fit like so. Alright, so then we're going to do is I'm going to press essence ed and squished down the ones that I actually need to press S on x, say the all-in, basically doing now, trying to make them into the actual bookshelf. So you can see S and X n. So we can, it's one in essence add, make it a little bit smaller. Place. And then this one a little bit on its side. So all and y likes like this, bring this one into place. Then let's bring this one in. A little bit smaller it down onto the shelf like so. And let's do the same thing. So this is where my microphone obey. So I just need to fill up this side now. So I'm just going to put this one here or y. And I'll pull this one next to it. Thanks. I'll put this one here because they kinda I don't want them all looking the same. You can see I've got, I've got the same colors here. Don't really want now I'm going to make this one a little bit smaller. On maybe over here. Rotate it round. So all y rotates it around. Pull this one over m. What we're gonna do is I'm going to pull this one over. Bring this one all. Alright, let's put a microphone in there then on the next lesson. So what we'll do is we'll actually build out the microphone. Um, we'll actually build out this flu. And then I think that will basically be that done. Looking at this one, I'm thinking that's not right. So I'm just going to make this a little bit thinner. This one. I don't want them stuck out anywhere up the a yeah, I think that looks right. I'm just gonna have a quick look on a rendered view. They're looking pretty nice. Alright everyone, so that's that part done. So what we'll do is, as I said, we'll bring in our Canvas, will do the microphone, and then we'll do the actual flute or everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 34. Working With Simple Subdivision : Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, let's put it on object mode. Let's now start work on this canvas. So what I'm going to do is I've got my cursor over here. I'm just going to press Shift. They bring in a cube, I'm going to bring it over, press the S Bowen layout. Then S Y, squish it in. Remember it's a canvas. So it's gonna be quite thick. Let's press S and then it's up to you whether you want to bring it lengthwise, so you can always do that. I think mine do a little bit not quite as straight and other words, for something like that, I now have gave you a fair few works of all that you can actually use. Shift H, H. Let's go to the back of it. Let's grab the bag, press Delete and faces. And finally, well, not faces, sorry, deletes and faces, it should be, yeah, faces. There we go. Then what I'm going to do is I'm just going to come and Bevel off these bids very, very slightly just to give the illusion of it being a canvas. So Control B, heavily off very, very slightly and that's not worked out, right? And the reason it's not worked out right? Because we need to reset all the transforms, their origins, Geometry tab now Control B. Let's just Beverly off thoroughly with warm left-click, like so. And there you go. You can see that's called that real canvas feel to it now. Alright, now to unwrap this easiest way to unwrap this is just to basically Command Alt Shift and click. Hold Shift, click, hold, Shift, click, Alt Shift, click, right-click and Mark cosine. And hopefully now if I press L, you unwrap. I can kind of give it. If a press top, I'll teach, bring everything back. The same one is here. So if I go to my material, we've got painting framed wall I'm going to do is I'm going to call them and look fold up. So painting brained, this one here will be on material and you can see that's the full. Now, I would say that even this one, I like all of them actually, but this one is also really nice. But I'm gonna go with this one as I did in my original. So I'm gonna do now, I'm gonna go to over to UV Editing. I'm going to look for painted frame. So if I pull this over Lake, where is it? There it is. Yes, is the top one. There we go. Alright, let's press Alt to zoom in. Let's press the Tab button and let's now set this where we actually wanted someone to press S. I think I'm going to rotate it. So all 90? Yes, that's the right way. And then what I'm gonna do is basically make this fit into place. So if I put this kind of like this, if I make it S, then make it a little bit thinner, like so, and then S and X, Let's bring it in. And then g and x, like so. And then I'm just looking bulldogs looks like an a thing. Actually. That's looking really nice. And you can see because it's a canvas, it actually flows round like an actual canvas would do. And that is exactly what we're looking for. Now if we go back to modelling now, we double-tap the a and we actually put on our proper lighting. You can see now that looks really, really nice. It actually really stands out and fits in with the scene beautifully. Alright, so I'm happy with that. Now let's think about our microphone, so let's do that next. Again, I've got my actual cursor over it. Now you will notice on my reference. So let's bring the reference over one small, the microphone is more like this. And on the other, on your Rev, you've got microphone like this, so it's really up to you which microphone you want to go with. I think you've got enough skills now to create this one if you want. And I think this will be the one that will actually go with. So we'll make it a little bit more complex than the, than the original one. Alright, so let's actually start up. I'm gonna do is I'm going to first of all bring in a cylinder. Then what I'm going to do is I'm going to bevel the top. So I think I'm happy with 18 actually, I don't think I need to actually change that. So I'm going to do is now control a or transforms, right-click its origins geometry, pull it out like so, and then grab both the top face and the bottom face. So this face here, underneath this face, and then Control B, Beverly out, like so bring in a few more edge loops if you need to, left-click, right-click, and there we go. Now we have to think about bringing in those little indentation. So I'm going to do is I'm going to press control law, bringing a load of the edge loops, left-click, right-click. A basically want to bevel these off. So if I press Control B, then can scroll this back, brings in these kind of edges like so. And then while wants to do is I want to grab them going all the way around. So all I need to do is I need to minus them off on this side, minus them off on the other side. But if I press C, make sure I'm in face-like first press C, middle mouse straight down the middle column around the other side. So that'll be here. And then middle mouse, C, middle mouse straight down the middle, like so and will minus those off. Then what we wanna do is we want to press E, enter Alton S, bring those in, like so. And finally then we should now, if we put this on our auto smooth, it's, it's already looking pretty nice. You could actually come in and actually add in a subdivision modifier. And put it onto, Yeah, I think actually, if, if you actually wanted to really make these edges rounded, rather than do that, what you could do is you could actually come in and grab each one of these. So if you grab each one of these, like so. And then you press Control Z, you'll see that you can actually round those off. Not then looks really, really nice actually. Now, sometimes there is a way we can actually come in and grab kind of old ones you want them. But on this particular occasion, I think it's gonna be a little bit hard to grab all of these because you basically based on length and what'll happen is it'll try and grab all those going around there. Think on this particular occasion, we've just got to go in and just grab the ones that we want. The other problem, of course, is we could have gone in and grabbed the faces. So this face here, which might have made it a little bit easier. But unfortunately, what would happen there is it would also bevel the outside off, so this area here and that's why I don't want to do that. So all I'm gonna do is just done there. This one is I'm just going to come in and grab all of these. And then what I'm going to do is I'm just going to bevel the front off. So you can see now just to make sure that I've got them all and you can say a half. So what I'm gonna do now is go around the back. I'm pretty much do the same thing. Now you notice the way I'm doing is I'm shift clicking each one of these. So I'm doing the underneath first, like so because I feel like that's makes it much, much quicker to actually deal with these. And you'll notice actually in no time. So let's say 2 min or something like that. You should have actually got them all selected. Now let's go and select the others. And then I'll just test it to make sure I've grabbed them all before. Actually use my bevel completely. And then just test that by Devlin and just look in make sure that they're all beveled. So now I've girl these, you can see all it needs to do is press Control B. And I'm just looking down them on and can see now the role actually beveled. So now I'm going to do is press one. I want to press Control B, and I'm going to bevel them off, like so. There we go. There is a microphone. Alright, so now I'm going to come to the bottom. I'm going to press I, to bring it in. I'm going to press S and Y just to squish it in a little bit. Then what I'm going to do is I'm going to press E, not rotate E, like so. Then I'm going to press S and X, bring it in, pull it down. And then S. Why? Bring it in a little bit more. Like so. Alright, that is, I'm happy with that. Now I'm going to do is I'm going to press Shift S goes to selected, and then I'm going to make another part that's going to come down here. So Shift day, Let's bring in a cube. Minds seem a bit weird at the moment, but we're going to bring in a cube. And then one went to do is I'm going to squish this Cuban. So S and y, like so. Then what I'll do is I'll pull this cube down at the top. So S x, like so. Then what I'm gonna do is I'm going to move it round like so. Then bring it down just to here, and then down again and bring it that way, like so. Alright, so finally then I just want to bevel this off a little bit now just to make it a little bit more smooth, I'm just going to grab both of these. I'm going to press Control B, Beverly off, like so. Then all we need is just a little, another little piece that's gonna go in here. And then we just need to base on this when near enough done once we've got this round bit. And what I'm gonna do now is going to press Shift. They bring in another cube. I'm going to make it much, much smaller. Like so. I'm going to bring it in then. So S and Y bring it in like so. And then all the ones to do now is, I'm thinking that I want to round this off a little bit, so I'm just going to press Shift H. I'm going to grab all of the angles here. So all of these edges like so press Control B and just Beverly off two times, and then Alt H bring everything back and then it should look like that, which looks bad. And now finally I'll just bring in a little cylinder. I'm going to spin it round. So all x 90 spinning around. And just pull that into place. Like so I'm going to pick it up I think a little bit. Then I'm just going to press I on the inside and then E and just pull it over, like so. And there we go. Alright, so now we just need a actual base for this though. To make our base actually I'm just gonna go in. I'm going to grab this ball BMI and file reset the transformations first. I'll make you a much easier than E S play out. Like so. An S and E pull it down. Like so. There we go. That is very nice microphone. Alright, so let's grab both of these though and press S and Y and pull it out a little bit more like so. Now what we can do is we can join it with Control J, right-click, Shade, Smooth. Move it off a little bit more because it's a little bit blocky as you can see. And you can see we, we all gain some problems in here, in this bit here, and we really don't want that. So if I bring it up a little bit, like so I really want this kind of smoothed off. What I'm gonna do is I'm going to come in, grab this edge. So Alt Shift and click wrap this edge, Alt Shift and click press Control B, just heavily off just once and nothing that should be fine. Now let's turn it up a little bit more than you hope. So. Now we have a problem in this pair, as you can see here. And it's, it's basically what it is, is I need to shave the shade these flarf, they've come in and just grab each one of these like so. And then right-click and come down and shaved flat then should fix that issue like so. Alright, so in the next one what we'll do is we'll get that fixed, then we'll get some materials and textures on this. And finally, we can put that in place and then start on our flu or everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 35. UV Unwrapping More Complex Models: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And that's where we left off. Alright, so let's go in and actually see, if you can see here that because we shaded this flat as well, we are actually probably gonna have a problem now in this part here. So I was just looking at this and thinking, yeah, maybe I probably don't want to do that unless I'm shading all of this flat. So instead of doing that way, well, I'm going to try and do is just grab it. All right-click and shaved flat. And you can see again, that's not worked either. So do we have any other options to actually fix this? It turns out, yes, Actually we do. So what we'll do is we'll grab one of these. What I'm going to do is I'm just going to come and turn around here. And then what I'm gonna do is come up to vertex and move. It says, now I just need to be careful. I don't smooth it off too much. I want to get rid of those parts will not smoothly off. So you can see it only needs bringing in a real small amount to actually fix that problem for us. Now I'm going to do is basically I'm going to come in, I'm going to press Control Z and I'm going to do is be full fixing that. I'm going to come in and grab all of these round here, like so. So I'm shifts, click in control clicking. And if you aim it a certain way, you can actually shift click without actually rotates in the angle. And now I'll just come into the other side. They're exactly the same thing. So shift click, Control click. Then we'll actually smooth these off altogether at the same time. So something like that. And then what we'll do is we'll come to their texts and move. It says and it should have already know it's not actually a nice Bring it down a little bit. Like so, something like that. So hello. Yeah, that's looking much, much nicer now. Alright, so now we're gonna do is we're going to bring in the metal. So all of this can be bare metal and the Bombay is going to be black, and this will also be mounted as well. So what I'll do is I'll just press a new smart UV project click Okay, and then I'm looking for my metal. So let's just have a look. I think the violin has the metal on it. So let's have a look at these strings. Which one is that? It's go-to material that we've got Atlas three. So I think it's Alice three that we need to bring in. So we'll grab all this. I'll click the down arrow and we're looking for atlas three. The metal is on there, so that's good. Then what we'll do is we'll just grab the whole thing, UV Editing. Let's put it on Atlas three, which I think is, let's scroll down. I think it's this one here. Is it that one? I think that one's the Silver of look at the silver. Let's open up our guide, which is really handy. I'm glad we've got this. So this is the overview. We've got. This is the microphone top, as you can see, we could actually use that as well as the metal on there if you wanted to. But you can see these holes in there. Very nice. But we could actually use that for the inside of the microphone. Bit more depth to it, but it looks to me like it's going to definitely be atlas three. So let's just close that down. And then what we'll do is we'll close that down. We're on Atlas three now. So what I'm going to do is I'm going to grab all of the top. So I'm going to grab all of this. I'm going to grab this bit as well, and I'm going to grab the inside of here and then one wins do is now I'm going to press S and bring it in and let's put it onto here like so. There you go. And you can see now, if we look from a certain angle, y actually wants to get those parts fixed, as you can see now, it's cleaned it up a lot, lot nicer than what we had it before. Now I'm thinking that the inside of here, so all of these parts inside, Let's just have a look. If we just move it over to this one here. Does it look bad like that? That's what I'm actually looking at or should it be silver? I'm actually thinking. What I'm gonna do is I'm going to actually see what the, what the Paul, if I put this the microphone actual texture on this, because we've got it. So we might as well, just for a few clicks, just give it a test. What it's going to look like. Well, I'm going to do is just select these all like so. And I'm also going to just put these into their own group as well. So if I come over to here, vertex time, and then I've got those now, which will make it much, much easier. Alright, back to actual materials. Click Plus the down-arrow and we're looking for this time Atlas, atlas one. And then I'm going to put this now on Atlas one. So let's have a look. Where's Atlas one? Looks like on here. And here's my microphone. So I'm gonna do is I'm going to press you, unwrap. And then we're going to press S, like so. And then what I'm gonna do is we're just going to bring it into place. S, like so. And now I just need to assign that. So there we go. Alright, so now you can see that's looking at Samba. Maybe, maybe the need pulling out a little bit. So S and X pull them out a little bit. And now you can see that looks really, really nice. Alright, so moving on them, Let's come to this bit now. Again, we need this. Should it be on Atlas two or outlets one? Let's have a look. So I'm just going to pay back now on Atlas. Want, there we go. And then I'm going to drop these then into this part here. This part here like so. And yeah, that's looking really good. Okay, So this, I think is the actual piano or something like that. But I think for us that's gonna be really cool. Alright, so now what I'm looking for is how big is the microphone at the moment, as you can see, it's pretty big though. Let's bring it near to wild guy and let's have a look then how big that is going to be. So I'm just going to pull this over. Like so. There we go. We can see still huge. Let's make it a little bit smaller. There we go. Dot now is about the right size. So now I can actually go hold ions place for press one. Should hopefully just fit into there, might need to make it a tad just a tad smaller, or I could try rotating around. Let's try that all zed. Hundred and 80. Yeah, it's gonna be harder doing it that way. So how's that underneath? So let's put it that way. Let's make it just a little bit smaller. Like so. There we go. Now we can stay in place, press the dot born. Let's pull it back. There we go. Alright, that's looking good. Now. Now we've done that. Let's make a start on our actual flu. So we'll see that if we pull up our image, we have a real basic flu idea here. We want to make something a little bit more than that. Now what I'm gonna do is gonna basic kind of over here because you can see on our main image, which is this one here, this is what it actually looks like. So this is the one I'm actually going to be using. Alright, so let's do that now. So what I'm gonna do is first of all, I'm going to come over to this part here. So I'm going to press Shift S because to selected shift a, let's bring in a cube. I'm going to make the cubes smaller of course, and bring it over. And then S and zed, bring it, oh, let's press. Don't just do men. And this is where it's going to fit. And you can see it's probably a little bit thick that S and X put it like that. Then let's pull it down. So what we'll do now is we'll pull it out a little bit. So S and Y. And then what I'm going to do is I'm going to press the eyeball and you can see it's not coming in and properly again, control ALL transforms, their origins geometry. Now let's bring it in. Let's then pull it up like so, bring it in again. Like so, and then bring it up. Now let's put a ball going around there. So control law, left-click, right-click, row B, then E, enter alt S, bring it out. Holding the Shift bone like so. All right, that's looking pretty nice. Now. We can just press Shift H and just build off of this actually. So that's absolutely fine. So I'm going to do is I'm going to bring in yeah. Bringing him a first one. So I'll press Shift M A bring in a cylinder. Let's put the sudden design something like 14. Sun is over here. So let's bring it into place. O7s ands place like so. Then let's look at the height that we need on these and see probably gonna be a bit big. So I'm going to make it a little bit smaller, like so. And then one Wednesdays I'm just going to pull up the top. I'll pull up the top. Like so. I'm looking now, the height is what I need to work out. So we can see here it will top the eye. Needs to be, I think a bit taller, so I'm just going to pull it off like so. Alright, so that's the tallest one going over to the side. Now what I can do is now I can right-click and shade ulcers move just to make sure that it's smoothing out properly. And now I can use and calm adding a modifier, an array. Let's have it going back the other way. I'm holding shift just so they're right next to each other. Like so. Then just increase it all the way over to the end. And then I can just pull them into place, just make sure they all fit properly. Can see the still hanging out the edge. So what I wanna do is I want to make them a little bit smaller. So just a tiny bit holding the Shift button. There we go. Now think the thin improperly. Now I can do is I can press Shift H just to hide in a vector. Now the way, the way that I'm actually going to cut these is basically I'm just going to wear boolean them. I think that's gonna be the easiest way. You could cut them over the bisector all unfortunately, only costs in a straight line. So that actually gives us an issue. So I'll do is I'll bring in probably a plane and then cut them in a kind of a sloping way or something like that. I think that's the best way to do this. All right, everyone. So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 36. Creating A Musical Flute: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, let's press Control a and put our orientation ran the center. So right-click its origin to geometry. And it's not going over that because I need to apply my array. So control a applier array. And now let's press Control a all transforms right-click. So origins geometry. And now let's bring in a plane. So I'm going to bring in a plane like so. I want to make the plane near enough to be the right size. And then we'll want to do now, I wanted to give you some edge loop. So top control law, give it some edge loops, like so. And then what I'm going to do is I'm going to come to the edge, grab the edge. And then I'm going to pray on, we need a nice kind of curves. So maybe the shop is going to do that bad for us. If I press one, I can see if I bring this up like so. And then I can bring this one down. So let's press one, bring it down, through that again. One, bring it down. Like so. And I'm thinking that, that actually it's probably going to look pretty nice now if I grab the whole thing and pull it down to see while I'm actually doing because I can't actually see at the moment rabbit that hold it down, something like that. And you can see that's quite nice slope that I actually think that's going to work out pretty nice for us. Alright, so now we've got that. All we need to do now is basically caught this over. So the easiest way is to press L and then press E and just pull it straight so there's no problem doing that. And then you can grab your actual flu. I didn't modify it and let's bring in a Boolean. And the boolean of course, will be this. And you can see it cuts it away perfectly. Let's come in now and press Control a. And now we can get rid of this and press said, solid. There we go. Now let's come in and bring these in now. So if I come in to each of the tops, don't forget to grab these little parts that are there as well. Like so. Like so and then you're just going to press I bring them all in and drop them down. So E, pull them down, making sure you press Add, though they're actually going straight down. So you might have to press a couple of times and then just press Add to make sure they're going straight down, like so, making sure as well they don't disappear through the bottom or anything like that. Alright, so the next thing is we need a little band like that is going to go around them. So I'll tend to do is I'll pick this one over here and then I'll pick this one here. And I'm just going to press F. And you'll see now that actually creates something like that, which doesn't seem perfect at the moment. But trust me, it's going to look pretty good. So let's grab this one and this one, press the F born. So what I'm gonna do is I'm going to actually come in. I'll grab them all. I'll go to Mesh. I'll come down to where bisect and then that's pulled out, cross their legs. So let's put this on zeros just so it's the right level. And let's move it down a little bit. You can see some reason there we go, move it down a little bit and then we'll do the same thing again. So mesh, bisect, like so let's pull up going across he had like so let's put this on zero and let's then move this up. Like so something like bad things can be absolutely fine. And then all I want to do is I want to press Alt Shift and click. Now if Alt Shift click doesn't work, just grab one control click and just control click your way around. Like so, like so. Then all you're going to do is just press shift D, D, selection. And there we go. Now separated off, press the Tab button, go back to float now. And all you need to do now is just get rid of all of these. So basically I want to get rid of all of these, all of these press Delete and faces. Now let's come and do the same thing on here. It would delete and faces. And finally do I rarely, I'm going to leave those edges there. You might want to get rid of them is completely up to you if you do so now I'm going to grab this. I'm going to press Control layer transforms, right? Clicks, origins, geometry. I'm just going to bring in a quick solidify. Obviously I'm going to pull it out the other way, not that way or something like that. There we go. That is how we make flu. So let's press Control a, and let's press Alt H, bring everything back. And now let's join all of this together. All of this control J, right-click, Altos move. And now let's just turn off just to get rid of these little tiny bits that we've got issues with, Let's turn it off just a little bit. Can we get rid of them? Say that probably we can't get rid of love them. Then what I'm gonna do is I'm just going to come to each of these. I'm going to do is press P, separate them out again, and then Shift H just tied the other way. And then one wins. Do now is press Control, lay all transforms. Then come in and adding a subdivision. Okay, now I'm going to do is I'm just going to see if I can come round. So Alt Shift and click, Alt Shift, click. While I'm going to do instead is I'm going to actually just press the EE bonds, so extrude them just slightly and just press E. And so I'm just seeing if that's actually fixed the problem which it has. It has actually fixed the problem and they do actually look slightly better what they did before. There we go. They look a lot more natural now. That is what I'm going for. Now what I'm going to do with these, all I'm gonna do is I'm just going to grab them, press the I button just to bring them in and you'll see it does exactly the same thing. There are no, All right, Let's personal teach, bring everything back. And there we go. Now we can see they look much, much better, a little more, look much more realistic. Actually. It's not going to just grab these press Control, lay out the rest of it Control J. And now I'm going to do is I'm actually going to bring in a texture for these, so I'll grab them all again, pressing a u. And let's have look smart UV project. We might as well use that. Then. I think where is the brass on? Let's have a quick look. Our textures here, we have bras on here. I think it's this brass metal. We can use the mike mantle as well. For this though, we can just use Atlas one. So if we come into our material and just look at Atlas one, like so. And let's put it on material so it can actually see what we're doing. Let it load up. Now. Let's go to our shading panel. Now, shading panel or UV Editing palette has been a long day. Let's say, come in and grab each of these. Like so. And then we're going to do is I'm going to first of all put this onto my atlas, so it's this one here. And then I'm going to press a and I'm going to pack islands. Actually, I'll pack islands because then we'll make it a square image. So if I come to UV and pack islands, you can see now much, much easier. Actually squish this down. Alright, so now let's come into these parts. You can see these are here. Again, you might want to pack Islands though, UV pack islands than S, bringing them down and then G, hold them in the place you want them. And then finally this part here, do we want this part to be awarded? I think actually it might work how buffers, if we make this word with a bit of gold going around it or something like that. So what I'm going to do is I'm thinking I have a whiteboard, but I kinda don't want that. I don't know if we've used we've used this word, am I actually put this water and then just give it a try and see where it looks like. So uv, Let's again, pack islands, S, G. Yeah, and that looks much, much nicer like that. So I'm going to leave that like that. I'm not even going to touch it. I don't think so. Have a look. I should think I'm going to touch that thing. I'm going to leave that the way it is. And then I just want this gold around here. So all I'm gonna do is hold Shift, click Control plus, and I'm just going to move it then over to the gold, like so. And then what I'm gonna do is I'm just gonna go to modelling. I'm going to double-tap the a. I think that looks really nice. The only problem I probably have with this is the breast needs to be dark. It's a little bit too light. And too though, to compensate for that. What I can do is I can come and grab all these so I can make a new one and we'll just call it new dog bras. Like so when I can go to my atlas and I can click Copy material and then dog brass base material. Then more can do is click Assign on these parts here. And now I can actually should be able to come down and mess around with my roughness. So for instance, if I now turn, you can see my roughness is zero, my metallics here. I've got to actually go in because the reason is I've actually got this on a map as you can see. So I can't do it from here, will need to do is I need to go into shading panel and actually work from here. If I press dot now, go to my brass parts that are in there. I'm just going to pull this over. I'm what I'm gonna do. First of all, it's just unplug the metallic and then just pull the metallic cope light so nothing. As you can see, it's kinda look in, if I press Control zed, it's kinda look in there. And the color as well, I'm gonna make that base. So first of all, I'm going to mess around with the color first. So shift a RGB is drop that in, make it darker. And there you go. I can see straight away That's looking better. Now I'm gonna do is I'm just going to duplicate this. So Shift D, drop it in then to my metallic and now I can also mess around with the metallic like so. So I'm just going to make them a little bit more. Now that then I can see it looks just to tons bad. Alright, so now I'm gonna go up to File save that. And then on the next one, what we'll do is we'll, I think actually we've pretty much done and all that. So what we'll do is we'll make a start on our actual piano or everyone. So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 37. Starting The Grand Piano: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so let's now go to modelling. What we'll do is press tab will come out of that double-tap the a and then we'll go to object mode. And then what we'll do is now we'll make a start on our actual piano. Now, we have got a piano here. I just want to duplicate, I think so Shift D. And then what I'm going to do is I'm just going to press Alt, Alt and see if I can actually rotate it around the correct way, which account? But we know that this is going to be the right scale of what we actually need it. So now I can actually do is grab the top of it, press shift D, bring it over. And now I can do is just delete that out of the way. So delete vertices. Now I want to do is I want to grab it, Shift S because to selected. And then I'm going to do is basically, I'm going to bring in my reference again. So if I press seven to go over the top, I want to press Shift a and want to bring in, well, I'm going to press tab first, then shift day, bringing in an image and we want the reference and the reference or warm is going to be our piano. So why I've done that is because now I can actually scale my piano to the size of here. So if I bring this down, should be able to pretty much it to be right about the right size. So if a person is dead now, go into wireframe. You can see that it's roughly around the right size. Now it doesn't have to be perfect. Of course, we're going to have a nice pool keys in and things like that. But it means no now of God knit really nice scale to actually work with, which means now I can actually come in and delete this part here. So I can actually delete this part. So delete, now I can do is I can bring in a plane. So shift they bring in a plane seven to go over the top, bring it down. And now I can make a much, much better job on my piano. The mall did in the beginning. So the first thing I'm going to do is I want to keep these straight lines here. So I'm going to do is I'm going to press Tab Control, left-click, bring in this straight line. And then I'm going to press Control or this way this time come down to the bottom and I'm going to bring it around there. And I'm going to press Control Alt, left-click, bring it into some place like they're some jaws grabbing this kind of edge on here. Now the thing is, it's when we made the vinyl and we add to actually make sure that the violin looks like a violin. If it's a little bit close, you can still see it looks like a violin with the inside of the grand piano. We can actually get away with not actually creating everything on the inside of the ear, which is something that we really don't actually want to do because this on its own would be its own course. So we really don't actually want to do that. What we wanna do is we want to actually project this, this actual texture onto our actual mesh. But what we wanna do is we want to raise certain parts of this op. So they actually looks as though there's actually something in the grand piano rather than just a flat surface. So that's why we're actually going to be doing it this way. Well, I'll kinda wanna do is I want to cut this out. I want to bring these parts soap, as you can see here, maybe bring in some rivets, bring these parts up as well. Um, make sure this is across here, and especially these parts along here. I want to make sure that these are also brought up. So let's make a start. So what we first of all gonna do is move out our guy because it's kind of in the way his arms in there. Then what I'm gonna do is go to my plane. And now I'm going to use my knife tool. So I'm going to come in, press a just to make sure everything's selected. And I'm going to press K. And what I'm gonna do is I'm going to actually work around here. So I'm holding control again just to work my way around. And I'm making sure that I give it enough actual leverage this to make sure that it's, it can be rounded off. I don't want to scrimp on these and make it too chunky or anything like that. I'm also want to make sure This is gonna be the inside of my piano, but want to make sure that I'm right in the middle. Actually, I probably should have been bear like go into the outside of fear, but a *** We can, we can work with this anyway. We're not going to keep exactly to what this is because we're going to actually solidify anyway. So just working my way around now back to this point here, like so there you can see that is the first kind of start to our actual piano. So now we've got that. I want to actually separate this out now from everything else. And the way I'm going to do this, I'm actually going to come, I'm going to press shift D, bringing it up. So I've just duplicated it. And then I'm going to press P selection, separate out, come back again, come back to this plane now. And then what I'm going to do now is I'm going to come in over the top. I want, I want to do is I want to grab this line going all the way around the ear so you can see it's going all the way down, down to here, round to here. Then I don't want to grab this one or this one. Alt Shift Click going all the way around. And as you can see now, that is what I'm left with. Alright, if I press shift D now, you can see I can bring it up like so. And now I can do is I can either, well, first of all, I can actually separate out so I can press P selection separate out. Elite than this one here, because we don't need that anymore. And then walk can do with this now is I can extrude it. So I can basically grab it and extrude it. So if I press L on here, I can press E, an extruder or black. So now I'm not too sure about the actual thickness, the height of the actual piano, the moment I'll work on that as I move along. But the main thing is that now, if I press tab, control layer transforms right-click. So origins geometry, Now come back to the top and go over the top now and bring it in. So a compressed, I bring it in a little bit as you can see there. Now you can see it's not quite right because it's not quite lining up with everything. So I might just have to go in and press the S button and just scale it up just very slightly. Now you can see we've pretty much following those lines all the way round, which is kinda what I want. Now what I wanna do is I actually want to bring this down. So if I press E, I'm going to pull it down like so down to there. And then we're going to do is I'm going to press I again, like so. Then I'm going to press E, just a little bit more gills to bring it down like so. Now you can see we've got a really, really nice base or grand piano. Now if I right-click and shade auto smooth, you can also see because I took time and how many edge loops I actually put in there. You can see now they look really, really beautiful and smooth. Now I'm going to do is I'm going to hide this out of the way. And then I'm gonna come back to my actual array reference. So I'm going to go over the top again, presses that button, go into wireframe. I'm going to press a on my actual piece. And now I'm going to do is I'm going to cut out this part going around here. So joules this part going all the way around here, down to here. So let's go in now and press K. And the p psi one's coil is this piece going around there. So what I'm gonna do is I'm going to press K. I'm going to come in like so. And I'm jealous CO2 now going round here. Here, all the way down to here. Going around here. Yeah. Yeah. Yeah. Like so now I'm going to do is I'm going to actually cope this now. Going all the way round, as you can see under here, all the way round to that. So I'm going to come in holding the Control button again. This going all the way round. Doesn't have to be too accurate on these parts as long as you follow in that line. So, so, so, so we're going to come down to this part here. And then what I want to do is I want to, first of all, what's it going around this part here? So all I'm gonna do is I'm just man, I'm gonna be a little bit more accurate on this bit now. All the way round here. And I'm going to finish a coupon here. And then finally, work my way around. Color in this pit. All the way back round here enough to the place where it started again. Down to here. And then we'll want to do is I'm going to actually pull piece in there and then join it to their bikes up. Alright, so you should end up with something like that. Now what you wanna do is again, you want to duplicate this. So Shift D, bring your dough recipe selection and then you should end up with something like that. Not very good at the moment because you can't actually see what you're doing. So I'll just press Add going to solid, press the Tab button. And now you should be able to see perfectly what you're doing. Now what you wanna do is you want to actually select now this part and these two little parts, you want to press Shift D. And then what you want to do is you want to pull it up, press the button, and now grab these two parts, press the bone, like so. And then all you're gonna do is you're going to separate this away from the rest of it now. So I'm going to press L on this p selection and then grab this part, elite. And there we go. That's what we've ended up with so far. If we press Alt H now, we should be able to grab this part, hold it up an inch place where we actually want it. So something from them like that. And now we're going to do is we're going to move on so we can join these two together now because I think I'm happy with how that turned out. I'm just want to make sure that it's actually sat flush on the ground. Here where you can see I'm holding the shift bar and pulling it up like so, joining both of these together with Control J. And now I'm going to do is I'm going to do the next part. So I'm gonna hide this from over the top again. I'm going to press this dead bone, go into wire-frame. And I think what we'll do then on the next one is we'll actually create these kind of balls going over here. So I'm going to show you a really, really nice technique to create those. Now the other thing is what you can do is you can actually come into your actual plane. You can press a and you can press Delete, and you can press limited dissolve, then you'll have a fresh, clean slate to actually start with. So that might make a little bit easier for you as well. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 38. Working With Illusions: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms and this where we left off. Okay, so now we need to do is these bars. Now we have to just be careful that we do in these bars pretty accurately to where we actually go in with them. And the reason is because we are going to be projecting this image on top of there. So you just got to decide where you actually want to place your image so you can see I'm going in and actually cuts in my image around there. I'm just going to zoom in a little bit more like so. This bars quite important because if you don't get it right, you might end up with some of the image not quite where you want it to be. And that's not something I particularly want. All I'm gonna do is just take my time and bring it near enough. Trying to stick near enough to this kind of deeper orange part of it. They have gone a little bit too far. Now, if you do go too far, you can't actually move it until you reach the end. So basically you can come to the end. So what I'm trying to say is if you have gone too far, just try and fix it. Don't worry about it. Fix it once you've actually finished everything else. So then go round and actually fix them is what I'm saying. It's too easy to actually think, Oh no, I've, I've made a mess on that bit. I'm going to go in and try and exit straightaway, but it's actually better just to leave it and come back to it once you've actually finished. So down to these now, go round like so this ground. So, and then this point here and work my way up now, all the way up here. Again, which bid saw stock-out and which bits on a gonna be kind of up to you on this part. Way down to here, nice straight line and then up to here. Then this pits kinda rounded. So I'm going to take a little bit more time and add in a few more that says on that one. So let's come in. Bring this up to here, and this power of costs should be covered up by this part that we've already created. So that's nice. So, so, so an action we don't actually need to create much of this. So all it's going to save us a lot of time. Again, if we're creating this in its entirety, looking as accurate as possible, I think it would take you probably six or 7 h to create that. So that would be a complete course. We're not actually going to do that. I'm going to bring you up a thing to hear, then bring it to here, and have a look where we're actually going with this. And we'll bring it to maybe to here, bring it over. So and then just pass there because we know we've got some parts in there. Bringing it down. I'm going to look at these little rivets as well because of mine actually bring those into play. I don't want to come all the way down to here and then back to here, press the Enter button. Now before I carry on, what I'm going to do is I'm just looking. Where was that, Paul that I needed to fix. Think if I put it on to vet select, think it was somewhere around here. There it is. I'm just going to pull that over. Night is the only part that I actually kinda messed up on. And now I'm going to do is back again. So I always press a, press K and then I'm just gonna go back now to draw in the rest of it on. So we could have come in and bevel this, but honestly it's not gonna be as accurate as going in with the knife tool. So that's why I opted for doing it this way. I know it's a little bit slower doing it this way. But I think in the end it's going to make a better job of it. So like so. Then I'm looking now where else I need to go and I think I double-tap the air can see now quite clearly where it needs to go. So this middle bit, so let's have a look that will come in around here. On this little rivet. Going to go round knee and not the shadow bit. I don't want to go around there too. Yeah. Yeah. All the way up to their breasts and enter it will tap the a Let's have a look where we are. So we've got all of this part done. All of this part. We've got this part down here, this part down here, these parts going down here. And I think pretty much we are done with that. Alright, so now we have to actually get this off now. So what I'm gonna do, again, I am going to press Shift D to duplicate it. And then what I'm going to do is I'm just going to hide this one out of the way, just leaving me with this one. And then among want to do is press, go into solid. Half an hour, can see exactly the parts that I need to take out. So I'm just going to. The pulse that don't want, first of all, press Delete and bases. Now I should have just these parts left if I press a and then E shouldn't be able to just extrude. These are like so, there we go. That is looking pretty fine. Alright, let's press Alt H, bring back our main part, and now we can actually put these parts in place. I'm just going to sit them on top here like so. Yeah, that's looking pretty good. And now we need, if we go over the top, you'll see that we've got some little rivets that we can actually make, which we will use a cylinder full. So what I'll do is I'll create those now. I'll do is I'll press seven and I'll press Shift a. I'll bring in a cylinder. So mash cylinder and full teens. Absolutely fine. I'm going to bring it down. And then we're going to do is I'm just going to round off the top of it. So if I press Control a or transforms, right-click the origins geometry. And then Walgreens do is I'm going to come into face select, grabbed the top of the face press Control. They then just turning up to maybe left-click, right-click. And then finally what I'll do is I'll grab the bottom of it, hold it open. Now I just need to put this in the right place. So if I press seven now, press Add wireframe, you can see where I'm actually going to need the wall I'm gonna do is I'm just going to press Control a or transforms right-click the origins geometry, make them a little bit smaller them all I'm gonna do is I'm just going to play some Rao in the places that I want them. So you can see, I could probably get away with making them a little bit smaller because I do want to make sure the main thing is that they kinda fit where actually want them to now if I press shift D because I'm over the top, I can actually put them right where actually need them. So Shift D, right, we're actually need them. Just work my way around. He work in a way because there is a fair amount of these. Let's have a look of galt two over there. I've got some here. So it should be and shift D. Shift D, like so, alright, so we've got one in there, one in that. Now let's do these folded down here. So I'm going to press shift D, bring it all the way down to here. And what I'm going to do is just zoom in. These ones here are going to have to be a little bit smaller, so I'm just going to make them a little bit smaller. So and then shift D. Shift D. So, alright, I think that's pretty much all of those dome. Now I want to press one on the number pad. I want to hide my guy. Just move them to the side. I want to hide my son just for now. And then press B grabbed them all. Grab one of them then, and then just press control J, I'll teach, bring back the song. And I should be able to grab all of these and put them in place, so Zed, solid. Let's bring them down and drop them into the place where they need to be. Now you will notice that some of them might have to be a little bit higher than others. So you can see here that those ones are all looking good in there. And these ones looking good in here. It's just mainly think these ones here that need popping down. Let's have a look. Yeah, these ones also need popping down. So if I come in now and I bring these two down, like so, and then a command and I grab all of these. And I bring these down. So if I press the dot so I can see what I'm doing. Now, right? Think of I missed this one. I'll put it down to the floor. So that would need to bring in now as the problem flow. So I just want to make sure I've gotten no floating ones. You can see here I do have some look in here now. Just me. I've gotten older homes that are kinda floating in the air. Thing will top the I think that's pretty much it. Alright. Yeah, I think we're okay on that. Okay. So now if we come again, so seven wireframe, all we need now is these parts here. So let's make those next. But I'm going to do is I'm going to press Tab, Shift a, bringing, not gonna press tab. I'm going to press Shift they bring in a cylinder. And again, I think I need to increase the verses on this. So 18, let's try that. And then what I'm going to do is we're going to press S, bringing out Like so. Then what I'm going to do now is try and create a little bit. If I don t think I even need to do that, actually, I'm just going to bring it now, essence add, bring it to where it needs to go. Like so, something like that. And then while there is now, I'll go over the top. I'm basically just going to press shift D, bring this one in. And if they miss one in, 50, bring this in and press S. And I don't need one on that. Alright, so, uh, think I think we're pretty much done. I'm just deleting that bottom one. I'm going to press Alt H, I'm going to press Z to go and solid. And now I can see that these ones here I need to join together, bring them up, hold them into place. So pop them Justin's place like so right-click and fatal to smooth girls like that. Now what we need to do is we need to join all of this together. So if I come round, I'll come round here, press B, like so, and then press Control J and join it altogether like so. Then the last thing now I'm going to do is I'm just going to, I think I'm going to I'm going to actually separate this part off. So I'm just going to separate the actual main part, not the underneath. I don't want to actually separate that. Actually, I need to grab that, grab that. So it should look something like this. I don't actually want to separate, I want to actually separate this off as well. I'm making a little bit of a hash of this. What I'm gonna do instead is Alt Shift click Control plus. Yeah, that's much better than grabbed the bomb. There we go. Recipe selection. There we go. Alright, so on the next one, what we'll do is we'll actually start projecting our image onto, onto this piano or everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 39. Finishing The Piano Base: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. I'm just going to save out my phyla. Hopefully. Hopefully you've been saving a file after every lesson like I told you. So let's now come up and what we're gonna do is I'm going to press top, I'm going to press a, I'm going to press U. And this time we want to project from view. So let's just project from view. And then what we're going to do is we're going to give this the Atlas one. Then Women Susan just going to pull this on material. Let it load up, think about what it's doing. And then I think is Alice Bonner outlets three, I'm hoping it's that last one. Let's go to our UV Editing. And here we are. Here is our actual piano. So now we should be able to do, hopefully is put this into place on here. So I'm going to press S. I'm going to press G. I'm going to try and place this into place. And you can see that's not quite working. And when I have to pull it out now, so S and X, Let's play out. We're a long way off for the moment of this one is not one-to-one. So you can see where we're quite a long way off on this. One we're going to do instead is I'm going to use my actual reference, an impulse that as to actually go over the top of it. So in other words, I'm going to use this, what we use in here, so this one here, and import that and use that for the inside of the actual piano. So let's go back to our parts. So part here, Let's minus this off click New. And we'll call it piano, like so. And then what we'll do is we'll go to the shading panel. Instead of a control shift T. What I'm going to do is I'm just going to open this up. I'm going to find my reference and my references here. And then one wins to do is I'm going to drag this in, drop this into here like so, plug this in. And we're going to do is I'm going to go over the top now, have a look of what this is actually looking like at the moment. Not too good, but I'm going to go to the UV Editing now, when I actually click this on and I'm looking all my actual piano and I think actually it's called Yan'an reference. So that makes it very easy to find 0 piano for reference. There we go. Now, let's once again just really up there. So I'm gonna go over the top. I want to press you reject from view. And I'm going to do is make this bigger now and hopefully this should work a lot in there. So if I press G, like so you can see that it's starting to wear much pad. Now the best thing is you just need to align these up. So if you align these up, everything else on here should pretty much lined up. So you can see all of this is lined up on here. Now what I want to do is you can see now that is what I'm looking for. So this is really, really working out nice Now. Now if I go back to modelling now and just press. Yeah, just grabbed the other one. There we go. Now you can see why we did all that way. You can see all these little bits that are popping out. All of these bits popping out, this looks as though it's actually real now, and that is actually what we're actually going for here. So really, really happy with how that turned out. Now we want to do is we want to give this piano some actual texture. So let's have a look which texture, whilst they have a go back to my textures. So the one I'm looking for, so have a look, is my piano. So I've got my piano, Mike, so it's definitely know that one is it number three? So I'll as three itself a look. I think it's this one. Yeah, piano surface, this one here. So we know it's Atlas three. So I might as well close that down. And let's bring in Atlas three. So atlas three, like so. And then what we'll do is we'll grab this now. Press U and smart UV project click. Okay, I don't think we'll have to actually wrap this correctly anyway. I think it should be fine. So now we'll do is go to UV Editing, will change this then to the Atlas two, which is this one here. And then what I'll do is I'll press Tab a s, bring it in. And what I'm gonna do is I want to try and make use of as much of this space as I can. Some Joe's gonna make a little bit bigger though, G, like so. And then what I'm going to do is I'm going to grab these with b box select Control plus just to grab them all. Any stragglers, just press L on them and then G, drop them into place, grab the other bevy of piano G drop-ins place, and then grab this one. I'll drop it into place and we go. All right, so this now is actually looking really nice. Alright, I'm pretty happy with how that looks. Now the thing is, as I said, we need to put a top on that, top on this. And I think we'll actually do that first. And then what we can do, the other thing is this inside of here as well. I'm not happy with it looking like that. I actually want it to be much deeper and much more metallic. So I'm gonna do is I'm just going to bring up the metallic like so you can see what difference that actually made. Then I'm gonna pull this down. Maybe something like that. I'm also thinking, Do I want to have that a little bit darker? Actually, I don't think so. I think that's looking good. Yeah. That looks. Absolutely fine. As I said, this is gonna be over here. There's gonna be a top on there. So you just want to be able to see into it like that and that looks, that looks good. Okay, so now let's make the top for this one I'm going to do is I'm going to put this onto object mode. I'm going to get rid of my Bomb Pop. No, I'm not. I'm still going to keep it because I still need to do my keys that will just hide it all the way for now. Let's do the side of it. So what I'm gonna do is I'm going to quickly grab all of this. So Alt Shift and click Shift D, Bring it all. Go over the top of it, press the S button just to bring it out just a very slight bit because that's how it would be. And then what you're gonna do is fill that in, then you're going to press E, pull it up. And then what I'm going to do is I want to tilt it from here. So first of all, I want to make sure that my actual cursor is over this part here. So Shift as Justice selected, and then I'm going to split this off. So L K selection, and now I'm going to do is press Control a or transforms right-click origin to 3D cursor. And now all that enables me to do is actually rotate it on the axis where I want it, so something like that. And now what I really need to do is I need to make sure, first of all, this is thick enough to go on top of that, which it looks like it is. And then what we're going to do now is open up my other references. So these references here as you can see, and look how it actually looks on here. So you can see It's this fall open, something like that. I think that looks pretty nice. We've also gotten to the one here. As you can see. You can see, I like this one more than the one I've got the moment I've got one there. I'm wondering, I think I'll make this you can see how it shines and bounces off there. Yeah, I think I'll go with that. So I'm just going to move that over to that side. And I think actually that is open enough for us. Alright, let's make this little puddle then that's going to go over that. So shift day bringing a cube, Let's press S, Let's pull this out. Let's press S and X, pull it in like so. And then we're going to do is just squish it in so S and why? Like so. And then let's make it into an actual puddle. So controller to left-click, right-click. And then what we'll do is we'll hold this soap, so E, hold this up, like so. And finally, we just want to actually round this off a little bit. So if I come to these parts here, press Control D, I'm just going to bevel those off. And then one went to do is slightly beveled this off as well on the inside. So Control B of that offers, well, remember if you can't get it the same angle, just change your width and your shape if you need to change your shape. But whatever's looking good for you, I'm going to press Control Shift and select like so. And I just want to go around all this. What I wanna do is I want to see if I can actually bevel this off. So if it can bevel it off to make it a little bit more rounder because at the moment it's looking a bit too chunky and I don't really want that. The other thing is do I want a bevel these off? I think I do. Note this top part though. I'm just going to take that off. I'm going to press Control B. I'm just going to see if I can round it off. State Altos move and it's made a mess that, so I don't quite want that beveled it too much a thing, well, I'm gonna do is press Control a or transforms. Just reset the transformations then press Control B. Now, I'm not able to get away with it. There we go. Okay, that is looking better. That's what I actually want. Now the thing is you can see that we've got a little bit of a problem in this bit here. So what I wanna do is rarely is the reason that's happening is because if I go back just one, you can see I've got these on and I'm just going to take them off. Now. I'm just gonna do it again. Now that's looking the way I want it. So right-click, Shade, auto smooth, that's looking the way I want it now. Now the other thing is, do I want to bring this part in? Another words, this part as an ex, bring it in the middle. S and X. Bring it in. Yeah, that's what I'm actually looking for. Alright, so now I think it's a little bit too big, so I'm just going to make it a little bit smaller than what we're gonna do is I'm just going to fit this now into place. Right up against there, I think. Something like against there. Like so and then rotate so RY rotate it round, make sure it's not sticking out of the back of it. And then what we'll do now is we'll pull this up. I'm going to grab all of this phase. Now the moment you can see that the, the angle for actually being pulled up is facing the wrong way. So it's facing over this way. So what we wanna do is just put this on normal. Now you'll see your belt to pull that up into place, like so. Double top. There we go. Alright, so now I'm happy with that. I just want one more actually just to kinda come from this angle, a little round one or something. And then walk can actually do is start work on the actual keys. All right, everyone, So hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 40. Creating Piano Keys The Easy Wa: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's thing before we actually bring, in fact, we will bring in this part because if I don't, then I'll probably forget. But i so let's press Shift a home to where mesh let's bring in a cylinder. So 18 is okay. Let's press S and just bring this down to this point here. Like so. Bring it over to here. And then one wins tourism. Joe's going to make sure that it's just inside and see and then pull it this way. Somewhere around there, I think should be absolutely fine. Let's grab the top of here then. And then we're going to do is I'm going to pull it up. Like so, when I press the S born in, Let's pull it in like so. And then let's still got this enormous. Let's print and global. Then what we can do is just pull it back. Like so. There we go, right-click, say deltas move, it will top the eye. Alright, that's looking perfect. Now let's think about the actual keys there. If I press Alt H, bring this back. We can see we've got kind of a bit dark comes out. If we also look at our reference is always a good idea to look at your reference as well. So if I bring this over, we've got a reference like this where it's slightly comes out first and this is then what the actual music sheets stays on. And then you finally got your keyboard. So just take that into account. So while think I'm going to do is I'm going to come in, I'm going to press Control, left-click. And I'm going to pull this out slightly from here. So I'm gonna come in Face, Select, grab this face. Now what I'm gonna do is I'm going to pull this out like so. Then finally I'm going to come in and bring out one more piece. So control law, left-click, right-click, right in the center. And then I love my music. Music, stand on here. I'm going to press E, pull that out seven to go over the top. And then I can see this is where my keyboard should actually start from, something like that. Yeah, nothing that look in. Absolutely fine. Now we are going to need these side bits in as well. So that's something to take into account. So what I'll do is I'll press Shift S goes to selected. If a, let's bring in a cube. And I want it to come from there. And then S and x. Like so. Bring it in the side. Relatively close when lifting up as well, like so. And then one went to do is I'm going to bring it out like here. And then I'm going to pull it up, something like here. And then finally pull it back to where it wants to grow out here. So if I press seven now can see it's going to come back through here. And then finally, I just want to now I can see that I need to just bring it in a little bit. So I'm going to grab this side. I'm going to bring it in just a little bit to something like that. Then what I'm going to do now is bring this over like so. Now the one thing I'm not happy about is these parts here. I'm not sure if they should be like that or not. I don't really think so. So I think what I'll do is I'll actually fix those. So I'll fix those first. So I'm going do is I'm going to press Control R to left-click, right-click S and X. Let's pull them out, goes down to the back of this part here. And then one wins doesn't just going to hide this out of the way, just for 1 s. And I'm hopefully then just going to delete these off. So if I come in now, I can actually go in and delete all of these off, like so, so delete and faces. And then what I can do is I can kinda hide these now out of the way. So you can see that I can come in and grab both of these, pressing F, hide them out of the way. There we go. Now that's actually looks much, much bad. Alright, so now let's do the same thing on this side. I'm going to come in and they don't need to have to worry because I'm going to mirror that all the point over this side. They have a press Delete and faces, and then Command grab this one and the bottom one. Like so, press F. Now can actually mirror that over once I've finished with it. Now, I want to actually press tab alt H come to this part. I want to press Control B, and then a wants to change the shape. I also want to change how many of this is, and I'm going to change the shape now, if I pull this inwards, you can see that the shape gets actually changed. And you can also come to costume. And what you can do with this is you can put in a few custom points and then you can change the shape to wherever you want it. So you can see I can bring it up like so and then I can bring this one in, like so and then in again, like so. Now you can see we've got a really nice shape there. Now what I'm gonna do is I'm going to actually press L. Now what we're going to do is just grab this, I think before actually send it over, let's say shade auto smooth. And then what I'll do is I'll just bevel this out. So Control B. Now what will happen is it'll try and Bevel out the actual customer that you've got. So just put it back on Insert lips. And then what you can do is you can change this back then what you need it. And then finally, I'll just drop those down to something like two. And now you can see that smoothed out. Alright, so now let's right-click and set origin to 3D cursor. Let's add in a modifier and we're going to be a mirror like so. We can see I've missed a bit there. So that's good jumper, check that. Let's come in with Face, Select, grab this face, press, Delete and faces. Alright, Something like that. It's looking pretty nice. Now we need to bring this bottom part out. So what I'm going to do is I'm going to go in again. I'm going to press Control Law. You can see now can bring that over there. Like so then what I'm going to do is I'm just going to drop it down just a little bit. Now Let's actually pull this out. So if I pull this out now with E, then should give us enough room to actually create what we need to create. Now there is another problem in this that we actually need to kinda pull all these down together and fit it altogether. So I'm going to do is I think I will pull all of these down and this one down. I'm just going to pull it down like so. And now I think I'm wondering if I should just join these all up. So what I'm gonna do is I'm just going to come in, grab this one and this one, press F and join it together. And then come to this one. This one, press F and join that together. And there we go. I think that looks, looks really nice except these bits here and pulled it down by the way, just to make it a little bit longer. But I do feel like these parts here probably going to have to come down a little bit as well. So I'm also aware yeah, I was going to mirror it as well. So let's pull it down through there. I'm also aware that if my guy comes over here, let's just check to see how thick this is going to be. Now remember, he's gonna be stored on a platform. I think the actual keys being on top of here. I think you're going to work out absolutely fine. What I'm wondering is if this is too thick so I can still come in and grab the top of the ear and pull it down a little bit like so. Alright, so now we've got that. Let's move all guy over and then let's actually work on the actual key. So if I go over the top now, you can see we've got this if a precedent and wireframe. So here are all my actual key. So the kinda going to start from here, I'm going to quickly go back round to this bit here. Yeah, there we go. And I'm going to actually duplicate this. So Shift D, bring it up. And then press P selection. Grubby again, seven to go over the top, that going to solid. And then there's bring it in. So S and X bring it in, you can see it's being brought in a funny angle. I really don't want that. So what I'm gonna do is I'm going to Control a on trolley all transforms right-click origins geometry, S and X, bringing in a little bit like so. And now finally, while I can do is I can actually hide these parts out of the way, like so. And I can work just on my actual keys here. So I'm going to press that, go into wireframe. I'm going to then grab this part that I've actually got, which is this one here, press Control a. And now you can see I can actually start to create these key. So if I bring it up to here, just need to get an, a happy medium for these keys. You can see though. I don't really, I mean, it can actually bring it in. You can see them disappear in on the sides and they don't really want that. So what I wanna do is I want to make sure first of all, this here, this is where it's going to create. It has the, another two more edge loops. So controller to left-click, right-click seven, go over the top to go into wire-frame and then pull them out. So S and X hold them out right to the edge of where that key is going to be. So somewhere around there. Now if I press Control Law, now I should be able to bring in the keys to a proper place. So you can see the nearly line built, nearly line built nearly lined up. They're going to actually line up. That's what I'm looking for. And I think that there is pretty much all of these keys lined up as best they can be. Left-click, right-click. Let's put that in there. Then what I'm going to do now is I need to split all these often work with them individually on their own. So I'm going to do is I'm going to actually come, I'll grab this one and this one here. And then I'll press Y just to separate them off. And now I want to separate these off individually. So the way to do that is really nice way, mesh, sorry, Select, and then come down to chickadees Select. And now you can actually split these off with y. But now I can do is I can actually grab this one and this one recipe selection. Split those off, grab my keys now. So these a, E, hold them up to how thick your keys actually wanted to be. So let's say something like that. Then press, go into solid and you'll end up with something like this. Now of course, these bits we need to pull up as well. So we'll go back to these, grab this one and this one, press the a and just pull them up just a bit slightly higher than the keys. Back to our keys now, control layer transforms right-click origins geometry. And in a minute, I'm going to show you how to actually create key. So let's actually save that till the next lesson. All right, everyone, thanks a lot. See on the next one, Bye bye. 41. Working On The Grand Piano Scale: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Now what we're gonna do is we're actually going to add in a blender modifier, another one, and this time it's going to be an actual bevel. So if I come over to my add modifiers and bring in a Bevel, and you can see straight away because we split them up now, it's actually beveled them off now, albeit it's way, way too much, so we need to bring this down. So what I tend to do is attempt to bring this down to zero and then bring it up one. Now if that's not working because of the size of the keys, then all you need to do is just come here and put naught point, naught, naught three or something like that. Now you can say actually they're looking quite nice. There might still be a little bit high. So naught point, naught, naught one. And there we go. Now they're looking really, really nice. Now what we need to do is we need to basically create these actual top keys. They'll think what I'll do is I will grab one of these keys. So I'm just going to press L, I'm going to press Shift D, grabbed one of these keys. I'm going to bring it up then. And then what I'm going to do now is I'm going to go over the top. I want to go into wire-frame. And then what I'm going to do now is make this a little bit smaller. So if I press S, Let's make it smaller and let's bring it in back to where it needs to be. So something like that. I'm just going to have a look at what that actually looks like. So Zed, go back in solid, just make sure it's right. And remember, if I press Alt H Now in object mode, so all teach object mode. And now we can see just how far that key goes by. Now, I'm thinking, I'm looking at this. I'm thinking is that a little bit too far back? I think it probably is actually. So I'm just going to grab it and just bring it a little bit forward, even though it looks a little bit different on the reference, I think that actually looks bad. Now the next thing I need to do is obviously pull it down. So if I grab it again, we've tab, just pull it down to where it needs to go, something like that. And then finally you can see that they're a little bit out of the middle of these and I'm not sure if they should be in the middle thing. I'm going to stick with this reference actually as well. What I'm gonna do is I'm just going to pull over my reference. I'm just gonna have a quick look in here and we can see that generally they look to be, if I come down to here, they look to be a little bit offset, so they're not directly in the middle. So that's something to take into account because your eyes will pick up on that straightaway, so we don't actually want that. Alright, so now I've got that. Now I can actually come over the top again. I can actually go in now and press Z to go back into wire-frame. And then all I'm going to do is just press shift D and bring it over. Now the thing is we can't do this with array because you can see that they're not laid out properly. So it's basically just going to be shift D and bring them over. Now what you might be able to do is grab a few of them. So L on both of these shift D, bring them over. Like so the New Reno fit. So I'm quite happy with that. I'm going to press L, shift D on this one and bring it over. And then we're going to do is I'm just going to grab these two shift D, bring it over like so and then just do the same thing on these three. So Elena, all three shift D. And this is just going to speed up the process very slightly. And actually instead of doing that while amides we'll do is do all the theories first, so Shift D. And then that will speed up that workflow even more. And I'm just work your way across. Then after this, I think we've got the I love to take a look what we've actually got left, but we've certainly got the legs to do. We've also got the little foot pedals to do. And we've also got the music sheet to do so not forgetting that. Alright, so now the last one. Blank. So, alright, so let's press Add. Let's go into solid, and let's take a quick look at what we've got. So we can see. I've pressed the old teacher, brought everything about that we've got in there now. So I think if we look at our reference again, so if we look at both of these, we can see that it's got this little bit that goes underneath. So we can see that this kind of comes down to here. So we've got lip that comes down to where the actual keys are actually sat on. This one actually is also got a little bit of a lip, maybe not as far as that one. And then we've got a bit underneath. So it seems to me that this actually comes down to here and then this bits raised up a little bit. So we just need to take that into account. I'm going to do is we've got all lip already here. As you can see, though I want to do now is think about bringing another bit. You can see it's not probably stuck out enough, so I guess we should pull these out a little bit. I'm just looking to see for Britain's on there. Now the one other thing you can see on mine is that everything is not kinda levels. I'm just going to pull them down like so. And then what we're going to do now is going to come into this part. I'm going to pull it out a little bit. Like so. And then we're going to do is probably grab let's have a look. Can I grab all of that? I'm going to probably grab all of this and pull that then down to there. And then finally one winner is just pull these bits out. So I'm going to grab both of these from here. Jules pulled them out, you can see because it's mirrored and just pull them out like so. And now finally I want to bring out just from here, let's say. So I'm going to come underneath. And I'm thinking the easiest way to do this is probably going to be to use a bisects. So I'm going to come in, I'm going to press Control seven. Scroll to the top. I want to press Tab, and then I just want this part here. So I'm only going to select this part here. I'm going to come over them mesh calmed down to bisect. I'm going to pull it across like so straightening up. So on this one where it's a little bit out, you can see just press zero and then just make sure that you actually happy where it is. I think something, something like that I'm going to be happy with. And now finally, I should hopefully be able to come in now and bring down all of these. So if I now press E, bring it down a little bit like so. And then what we'll do is now I think I'll also bring shouldn't bring those down and just look in it. Actually, I think I think I will bring them down just very slightly. So I'm gonna do is I'm going to come in and out to these. But if it's on there as well, you can also click this on and then you can grab the other side. That makes it sometimes a little bit easier. I'm going to just pull these down like so. I'm going to click that off. And let's have a look at that. And that's looking really, really nice. Yes, That's looking nice because we pretty much near enough done this. We can actually add in all of the modifiers and things like that. We've pretty much got everything done in the top of it. At least it's what I'll do is I'll just come over. I'll press B just to box select everything. And then I'll go to Object, come down to convert and convert to mesh. And then he's going to apply all those. What I'm looking at is to see how actual Hi, this is, as you can see, it's much, much higher than it should be. So we just need to navigate into place so that we can decide how far the actual legs are going to come down. So if I pour it, let's say down to something like here. Now what I need to check before is the fact that my guy is going to be stored on here. So if I bring him over and just make sure he stood on this, as you can see, is a little bit above it. And then I can get a good idea of how high my piano needs to be. So now if I bring it over it, you can see if he sits down. Let's bring the chair over as well. If he sits down on there, he can't even guy's legs on there. So that's, that's why I'm actually doing this. So I'm going to do is I'm just going to pull this out. And then I'm going to be box select this one small. Like so. Now I'm just going to press one. And what I'm going to do now is just I didn't mean to grab all those, so I'm just going to shift select each one of these shifts like this twice, and that's the de-select it now a compressed one and now congeals, pull it up. And I'm thinking that then something around about there is probably going to look much, much better. But now if I pull this over, you can see it's a little bit higher than what we had with the other piano, but it looks actually much better than White did. Alright, so I'm happy with that. Now what I wanna do is actually wanted to put some legs on here. So I'm just going to pull it back over. And then while we're going to do now is think about we need basically three legs. So one of the bike, because if we look at our reference once more, we can see that this is probably what we're going to base it on. And we will actually base it on looking like this, albeit we won't actually put these little wheels on the bottom. Oh, we'll do is just create the ward and it will go straight down and then to a plinth at the bottom. So we'll do that. Alright, so what I'll do is I'll first of all make the first leg and then I'll move it over to the other side. So I'm just going to grab probably this year, I'm going to press Shift S because to selected like so shift date, let's bring in a cube. Then what we need to do now is make it a little bit smaller, like so, but we need to think about how big is it going to be big enough? So I'm going to base it around, let say around here, something like that. Then what I'll do is now I'll press S and said, I'm bringing it up like so. And also what I wanted to do is I want to just hide this out the way because then I can see where it needs to come down to if I press Control one, not control one, if I press three, there we go. Three now we can see it kind of needs to come down to here, so that's a good reference. Now what I'll do is I'll actually think about bringing it in. So I'm going to press S and X, bring it in black. So I think I'll position this just at the side of here. So I don't really want to overlap this. I'm going to position it on here, like so. I'm just going to pull it out a little bit now. So S MY pull it out a little bit in object mode. And now think of girl, good start to create my actual leg. So what I'll think on the next lesson, I'll add in a couple of edge loops, pull it out, and then we can bevel this bit off and make it nice and rounded. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. And don't forget to save out your work after every lesson. Thanks a lot. Bye bye. 42. Adding Materials To The Piano: Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left out. Alright, so let's do what we actually said. So what I'm gonna do is I'm just first of all, looking at the front. I think that looks at about the right kind of chunking is. So I'm gonna do is gonna press tab controller to left-click, right-click. Now let's bring them out a little bit also, it will look like it's a matchstick. So if I press S and Y, pulled them out, make sure that you're in medium point when you pull that out just to make sure that happens. And then all we're going to do now is press Control three, I think it was or was it three? Sorry, there we go. I'm wondering if I can round that off from there. We'll give it a try. So if I press E now and pull it down just to the floor, and then we're going to do now I'm going to come in, grab each of these underneath here, press Control B. And that's basically what I'm looking for to see if that actually comes in properly. Now you can see on mine it's actually coming quite nice. But you might have an issue because we didn't reset the transformation. So I'm going to press Control a, all transforms right-click the origin to Geometry tab, then press Control B. And now you can see it comes in much better. Now the thing is, all you're happy with how many kind of bevels are also at moments on to, Let's set this to a little bit higher to make it a lot more smoother. Now let's press tab, right-click, Shade, Smooth, and there we go. I think that looks much, much nicer. I'm just going to actually go back again to my reference. So I'm always got my reference over here so I can actually look at it. And you can see this is how it is here. I feel like on this one lights a little bit flimsy and he's probably be more flimsy because it's a lighter piano. It's not as chunky as ours and grand pianos, although they have the same kind of layout, they all different from each other. So just take that into account. So now I'm gonna do is I'm going to bring it down. I'm going to make a bottom because I want my grand piano to be non movable. I just want it to be sat on the floor. So I'm gonna do now is come to this part here. I'm going to come and press Control R. Now, you will always have an issue with control law. If you've already brought a bevel in, the best way you can do that is to use the bisector all to come in, grab the bomb. And then all you can do is you can press Control three or three, whichever one is to get down to this floor, pull it up a little bit, and then extrude it down with E like so. And now you'll see you've got that bond. Now I want to do is I want to pull this out. So I'm gonna do is I'm going to press Alt, Shift and click just to grab it going all the way around. I'm going to press E to extrude, and I'm going to press Alt and ask just to bring it out nice and even like so. And I'm gonna make sure offset even is actually on. And there we go. Now, I'm not happy with that. I think what I'll do on mine is I'll just grab the front of it and just pull it out very slightly. And they're thinking much, much happier without that looks alright. One more thing that I think I should do is basically just put a little gold rim probably going around here just to make it a little bit nicer. So I'm going to do is press three. I'm going to press top. I'm going to grab the whole thing. I want to call them to mash, come down to bisect and then just pull it across like so. And also at this point, you should be able to pretty much model most of the basic things and actually add things to your own designs and things. So that's really nice. And I just make sure that this is set on zero. So I'm going to set this to zero. And then I'm going to do is just pull it down very slightly. And finally then I'm just going to Beverly out. So press Control B, Beverly out. Move your mouse meal back because you only want, actually want a bevel on there, left-click and then along going to do is press E and two alternatives and just bring it out. And this will just be some kind of gold leaf on it or something like that. Alright, really, really happy with that. Now I want to do is I want to bring this over to the other side. At the moment, I think I've got my actual cursor in the center. Now, if you've not just grab both of these, and then what you can do is you can press Shift S because to select it than that then should put it in the center. And now it can do is we can base this on this. So if I grab this one, press Control layer again, all transforms right-click set origin, and this time it's going to be to 3D cursor. And then we can come to add modifier, bring in a mirror, and then that should put it perfectly over the other side. Now finally, what I want to do is I want one on the back as well. So I'm going to do is just grab one of these. So Shift D, Bring it back. Of course there'll be a mirror modifier on it. But you can see that there's still together. So what I wanna do is I want to split them all. So I'm going to press P selection, split that off, grab this one and then just minus off the mirror line. So then finally, I'm just going to press Control a or transforms. Right-click the origins geometry and now spin it around. So well said hundred and 80, spin it round and then just make sure that that's poking out is poking out the other way, which is what we want. Now we want this to be holding up the middle of here. We can also see that one of the problems we do have is the fact that this is a little bit higher up. So I'm gonna do is I'm going to bring this up now. So I'm just going to tilt my camera just so I can see that. And then I'm going to press Tab. And can I grab all of those faces? So can I grab all of those faces? Yes, I can. Now I'm going to do is I'm just going to press Control plus. And I'm thinking that that hasn't actually worked out too well for me because I kinda wanted to pull it up from here. So I'm gonna do instead is I'm just going to mine itself each of these, and then I'm going to come and select this one, control, select this one. And then round here, select this one. We've shift select, Control select, and then we go now I should be able to raise that up properly just so it's not bend in any of the mesh or anything like that. Alright, so that's looking pretty nice. Now I want to do is I'm just looking to make sure that I'm happy with where that is the thing. I'm just going to pull my ANOVA just very slightly like so then what I'm gonna do is join all of this together. Again. When you join anything together, make sure that you apply all your modifiers. And the way I'll do is I'll just hide my son out of the way just so I'm not grabbing that. And then I'll go over the top of it, press B box select and then Object Convert and want to convert mesh. Now we have got a little bit of a problem here in that we can't actually select it. And the reason we can't select two is because at the moment as you can see, it's all orange. Now when that means you haven't actually got a primary objects selected. So it won't actually do anything. Select one of the legs like so. And now you can come to Object Convert a mesh and not actual work. Now we're going to do is just press Control J and then we can join it altogether. Right-click. Let's shade auto smooth. Let's press Control a all-trans homes right-click origins geometry. And now let's just put it onto a material mode and just have a look what that looks like. And there we go. Now you can see we've got a lot of work to do on the tops and all the keys and things like that. But at the moment we're not going to worry about that. What we're gonna do is actually put it into place, like so. And then what we're gonna do is I'm gonna go over the top seven. I want to hide this wall out the wages for a minute, so press H to hide that all the way back to piano then, and then r and z. Actually, before I do that, I'll just press Control a or transforms right-click. So origins geometry and now press aren't Zed, Just making sure that I'm pulling it in the right place. Now again, at the moment you can see that I'm pulling it from here. It's up to you. You might want to put normal arm and pull it from there. As you can see, that's a bit easier, like so then all you want to do is just make sure that it's actually on the floor. So delete your old piano out the way you might as well. You're not going to need it. And then I'm just viewing this from now. And you can see if I press Alt H and bring everything back just are beautiful, that actually looks now we're looking at just making sure that it's not floating on the floor. So you can see five, pull this down, I'll bring it up. You can see that I can actually prove right on the floor where actually want it. And I think actually, yeah, I think I'm actually really happy with that. Alright, so now finally what we can do is we can actually come delete this out of the way. We've got our chest wall here. I'm going to leave it around here somewhere. I know it's set up for the right size. And finally that I'm just going to bring my guy by Kim and just making sure then that this piano looks to be at the right height. And I think actually that looks about right. Yeah, I'm really happy. Okay, so now let's think about isolating this piano out and actually giving it more, more actual materials and things like that. So if I press Shift H, hide everything else out of the way while still keeping the lights on. So I've put my lighting on. There you go. My HDR lightens, Dylan. I'm looking at how this looks going around there. Yeah, okay. Alright, let's pray on material. This material then here you can see is piano and Atlas three. So if I press tab, I can see then that this is Atlas three and this is piano, so we know which ones we're dealing with. So now what that means is I can basically come in with Edge Select and select all of this, all of these, all of these, all of these. And then lock can do is I think what did I say it was on? Look for coming to face like now, grab this face is on Alice three. So if I click Assign, there we go. And we can see that we need to move these around now. So what I'm gonna do is I'm going to press top. I'm going to minus this off. And then what I'm going to do is I'm going to press you smart UV project click Okay, because I don't think apart from these bits here which will need to unwrap the rest of it. We should be able to get away with just actually pouring it in place and UV unwrapping it, smart UV unwrapping it instead of marking all the seams because it's just like it's just black so we don't need to worry too much about it. Alright, so now I'm going to do is I'm gonna go over to my UV panel. We can see that we've got, I'm hoping that this is a three. So what we'll do is we'll grab all of these, press the S button and then G, and just bring them into that space. I'm going to press dot now to have a look of what they look like. And we can see now that they're all the same. Alright, so what we'll do now is we'll just grab this part as well. So I'm just going to grab both of these, all of this like so I want to press you want UV project click Okay, a then S to make it smaller, and then G just put them in place. Like so if you've got any struggle is like these, just come in and grab them separately, press G to move them into place, same as this one here. G to move them into place. There we go. That is how it should look. Really, really nice. Okay, So what we'll do on the next lesson is we'll get all these keystone will get all kind of gold leaf that's gonna be on here, Don. And then I think what we'll do is we'll either make a start on the music sheet that Omnia, that might be the best idea or will actually make a start on our stool or something like that. I think what we'll do is we'll leave the plan and the actual seti till, till near the last I think we'll even do the lights before that because they're probably going to be some of the harder ones. All right, everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 43. Blocking Out The Foot Pedals : Welcome back everyone to blend the three beginning, step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's actually do the keys. Now. I'm probably going to create a couple of new materials here, because the keys, if you look at a piano, they're actually quite shiny. So there might be a little bit more shiny, didn't even there. So let's actually bring in a new material and we'll call it piano, white keys. Okay, and then what we'll do is we'll come now to all of our keys here. We shouldn't need to unwrap them. And I'm just wondering if probably actually I'm going to select all that, hide it or the way, select this and this, and then hide those out of the way. And I'm just wondering now if I can actually grab all of these. So if I press C to bring in circles Select now should be able to come down and grab those much quicker. Like so, right-click press Control plus just to make sure I've grabbed them all. And now base there, she'll be able to assign these like so. Now once I've finished these, I can hide them out the way and then do the other keys. I think I'll do it that way as well as doing that, I'll also come and just add in a new solid, just click Assign with the vertex group. And then I'll call this piano. And then what that'll mean is now I can easily select these and hide them out of the way just in case I de-select them. So if I de-select them, I can select them again really easily. Alright, so now what we'll do is we'll just go over to our shading panel. I'll make sure that it's actually on our rendered view so I can have a good view of it. I'll press Alt to zoom in and then line myself up like so. And now I can see exactly what they're going to look like. Now all I'm going to do is just very simply just mess around with the roughness and make them either lot more rough like so. I'll also com, and let's turn the metallic cup and see if that's going to do anything. I actually think now we won't actually mess around with the time. I'm just going to mess around with the roughness. And as I turn that down, let's have a look. What I'm trying to do is make them quite shiny actually get a lot of reflection. So now you can see I've got that beautiful reflection, reflecting off of those. If I turn this down more, you can say it becomes a mirror which we don't actually want. So we would just want to turn it off just a little bit. You get a nice reflection off those keys? Yes, something like that, I think looks pretty realistic actually. You might Munoz a little bit shiny where it's up to you. Alright, so now what I'll do is I'll click the Plus button, click New, and we'll call these piano. I'm black keys, like so. And then what I'm going to do is now I'm going to grab these ones here. So if I press tab, I can press H now. And then what I can do is I can actually come in, press seven to go over the top. And now just I think I've hit that out of the way already. So I'm coming in with select again and just grab all of these top keys like so. And then I can press Control plus just to grab them all and then assign them like so. Then what I can do is now on the base color because I've already got the roughness done. I can just change this now to a nice black color, like so press tab, and there we go. As simple as that to do that. Alright, so now we've done that, let's go back to modeling. Let's press Alt H just to bring everything back. Now we can press tab, and that is what you should be left with so far. Now let's solve tau and these gold leaf on here, I think they should be under this piano one, I think, let's see. So what we're gonna do is I'm going to actually, I think what I'll do because it is gold leaf, I can probably get away with just pressing Alt Shift, click Alt Shift, click Alt Shift click, pressing Control plus, and then you smart UV project click. Okay. And then I can go over now to the shading panel, not shading pals, sorry, the UV map and look for gold. And I think, I don t think this is the gold. I'm going to quickly, they'll check on my textures. So if I open this up, plant stem, definitely not plan stem. So we know now it's atlas three, this one here. So we can see that this is probably going to be the gold here. So if I press S, bring it in, press G, drop them in place, press the Tab button. And there we go. There's all gold on. Now let's have a quick look of what it's all going to look like. Yeah, that looks really nice. Okay. Really, really happy with that. I'm just wondering if I should have a goal can leave going around there. You could put something like that and probably actually really easy to do. You could even use this band that's going around there anyway and do it that way. Let's actually do that. So I'll just come in and Alt Shift and click press control V sub a lot what that's gonna look like. So just a tiny band going all the way around like so. Then all we'll do is we'll click on this one. Click Assign. I think it's this one. I'll just have a look actually. So I've got this one in Face Select can have a look. This is Atlas three, so I've clicked on the wrong one. So I'll do is I'll just press Control Z twice to get back to one. And then select it again on Atlas three. And then what I'll do is I'll just press you might UV project, okay, and then let's go to UV Editing. Now let's put these into play. So I'm just going to press S, make them smaller, and then just make them a little bit bigger like so, back to modeling. And now you'll see double-tap the a. And that is what it looks like with that little bit of gold going round like so and I think actually that looks, that looks really nice. I'm really happy with that. Alright, so last of all them, we need to think now of making the little structure that goes underneath. So if I grab this because I reset the transformations before, if I press Alt, all that then should bring it back to, you know, kind of straight again, which is really what I want. But before I do that, well, I want to do is I just want to see what the angle is so we can see it's 23.3. Now it's up to you. You might want to write that down. I'm just going to copy mine because so Control C 23.3, what that means is now when I press Alt, all, it means that now I can come in and press control V and get it set back to where I had it. So that's why I'm actually doing that. Sets it back. Let's come to object mode. Let's grab our reference again. So I'm going to grab my reference so you can see this is what we're actually doing. So we need a little box here and some little foot pedals coming out of it. So now we've straighten the less pressure so Shift H to hide everything else out of the way. So I'm going to come over Shift H and everything else, not the way. And then what I'm going to do is bring in the first queue. So I'm going to bring in a cube like so. Press the S bone, like so. And I think also I'm going to press Alt H. I'm going to bring my guy in as well. So I'm going to bring the piano with the cube Shift H, and then I can bring him in, I can spin them around then. So all zed minus nine. And it's not working because we need this on global. So all Zed -90 and then we can pull him over like so. And now what I can do is actually see if his feet are actually big enough for the pedals or the other way round. So what I'm gonna do then is bringing the cube. I want to bring it back a little bit. I want to try and sit this then in the center. Now to sit this in the center, what I'm gonna do is I'm just going to grab this line going here, press Shift S because to select it and then move this cube to that poll. So if I press Shift S selections cursor keep offset, and there we go. Now you can see it's actually right in the middle. Let's just drop it down to where we actually want it. I'm going to press S and Y, just bring it back a little bit, pull it back a little bit. So you basically want you guy sat on these little stole that able to reach the actual petals, which are going to be maybe even a little bit further back than that. All actually does not line up. If it lines up really nicely. So if I press Control three, you can say I'm just going to size just slip it. Joel's Ryan to middle of those like so. All right. I think I'm actually happy with that. Now I want to do is I want to bring this down. So I'm gonna do is I'm going to bring it down like so. So pull it all the way down to the actual floor. And then we'll have the petals coming out here. Now I want to do basically is a one to, I think bring this in. So I'll do is I'll press Control or to left-click, right-click. And I want it to be quite chunky, but not that chunky. So I'm just going to press S and X, bring them out like so. The other thing of course I've got to take into account is this going to be three petals on here? And at the moment this doesn't look wide enough to actually fit three petals in. So I'm going to do is I'm going to pull it out. So S and X pull it out a little bit further. And now thing, I can get three petals in there. If one's out this angle than the middle and one out of that angle. And I think that's going to work quite nicely. So now I'm gonna do is I'm going to press S and X, pull it out a little bit more like so. And I think I'll be I think they'll be happy with that. So now I'm going to do I'm going to actually press the question mark on what the question mark is going to do is isolate this within these that we've already kind of hit everything else away. So I've a question mark you'll see, isolates it out. And now I can do is I can come in and press Alt, Shift and click, press delete faces. And now I can come in and actually bring in a face on this one. So f to fill in that phase. And then this one, so grab this edge and this edge, it will actually connect these up anyway, press the F born and then all you want to do is press Tab, press little question mark again. And you can see now you can work within hidden and then isolation at the same time, which is really, really nice to use, really, really speeds up workflow. Now I'm going to do is I need to put a barring going across here. So what I should've done really is put in some markers down here. But instead what we can do is we can press control law, left-click, right-click controller, left-click, right-click, and then Alt Shift and click and then bring them down like this. Then what I can do is I can just grab both of these. And instead of pressing F, F won't work unless you'll see it does that. Instead of doing that, just right-click and you're going to go down to bridge faces. And then you can put a nice bridge in there. Now let's add one more. So control law, left-click, right-click controller, left-click, right-click, Alt, Shift and click, bring them down them. Then all you're going to do is press Control B and just beveled them out and now pull them up slightly. And again now we'll just join those two. Give us over, grab this one and this one. Right-click. And where is it Bridge faces? And now actually we can pull in all kinds of little steps and things like that in there. Now finally, all I'm going to do is just joined this edge and this edge by pressing F, press the Tab button, press file, press save. And there we go. So now we'll move on to the next lesson, and I'll see you in the next one. Thanks a lot. Bye bye. 44. Finishing The Grand Piano : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left it off. Alright, so now I want to do is put those little feet in. So I'm going to do is I'm going to press Shift a and we're going to start with a cube. I know it seems quite weird. We're starting with a cube, but I think it will be easier to start with a cube. So what I'm gonna do now is I'm Joel is going to get it to the size that I want. It. Press S and zed, like so I'm going to bring it down then. And then what I'm going to do is I'm going to press S and X, sorry, bring it in and I think something like that. The question is, can we fit three of them in there? Now, if I put this like this, you can say I can probably, if I tilt this round, probably get another one in there, so that should be absolutely fine. What I'm gonna do first of all is I'm going to bring in an edge loop. So Control Alt, left-click, right-click. And then what we're gonna do is I'm going to shape this using subdivisions. So control a all transforms right, plate origins geometry over to my little spanner add modifier. And we're gonna go with a subdivision. And now you can see that can actually start to shape this. So I'm gonna do is, I'm going to call them to the top first. I'm going to press the I button to bring that in like so. And then y should be able to do is press E now and bring that back, like so. And then finally I'll grab the button bit, press the eyeball and like so. And then what I'll do is I'll bring it up. Fact that that's not actually working, so I'm not going to do it that way. What I'm gonna do instead is, is first of all, I'm going to go back before actually oppress the eyeball and I'm going to pull it opens that. Then I'm going to press the button. And now you can see that looks much, much better. Now we need the actual bit that's going to come out here. So what I'm gonna do is kinda get away without an another edge loop in here. So if I press Control, left-click, right-click. And then what I can do now is I can come to this bit and I can actually press the eyeball and to bring it in like so. And then E to bring it out. And then hopefully I can shape this now into the way that I wanted. So if I bring in another edge loop, so-called Cho La, left-click, bring it up. And then I can press S and X and bring it in. And there we go. Now it's really starting to look pretty nice. Now I just want the edge loop around the n, So Control, left-click, bring it out. And there we go. You can see just how easy it is to form the actual fault to pedal that we need. Right-click, Shade, auto smooth, and that is what you should be left with. Now, the thing is that you can see that we've got some problems on here in that it's, some of it is not rounded off enough. You can actually turn this up one and then you'll see that actually rounds it off much, much nicer for you. And then once we've got that now, we can actually go in and mark some shops on that and things like that. Just make sure you're happy with it before you carry on now from this part. So now I'm gonna do is I'm going to press Control a and assign that. And now I can actually go in and add my Sharps on. So I'll add in a sharp going all the way around here, like so. I'll do it coming into here, like so. And then I'll press Alt, Shift and click, and then hold shift and click on the inside, right-click, and then I'll come down and mark a sharp. Now if I press Tab, you'll see exactly what that looks like. Really nice. You can see the bottoms already got sharp on there. Now finally, let's actually bring them into place. So if I come in, pull this back now, we can see that's what it's gonna look like. We just need another ball now, open the inside of here, just so we can actually fit into something rather than just be like that. I'm going to pull it over this way, like so then what I'm going to do now I'm going to rotate it round, so I'm going to press Alt and zed. In fact, should I, I think what I'll do first is press Shift D. I'll bring one over and then I'll press shift D Again. I'll get them all lined up before actually do that. So you can see now that if I put out there, they all kind of line up really nicely. Now, do you want to rotate one of them? So if I press Alt and just rotate it like so. Does that look bad as what I'm asking myself there? I'm not sure. I think it looks bad, not rotated, but one thing I do know is I'm not going to mess around with it anymore. All I'm gonna do then is press Control J, joining them all together. Press Control a old transforms right-click set origin to geometry. And now let's press Shift desk because to Selected Shift a and we'll bring in a another cube. And then finally this cube, I'm going to shrink down like so. And I'm going to slot them into the back here, pull it out. So S and X pull it out. And that actually looks like they're actually slotted into something which is better than nothing. Alright, now what I wanna do is I want to bring out the kind of balls that actually come up to the center of here. So what I'll do is, I think I'll just use a cube because they are pretty straight these balls. So I'm going to press Shift day, bringing a cube, make it much, much smaller like so. And I'm going to bring it out into I'm going to bring it to the side, like so. Then I'm just going to go into edit mode, grab the back of this, pull it out like so, and then put it to where I want it. So probably something like that, like so now while I've got this, I might as well mirror it over the other side. So Control a or transforms right? Place the origin. Set origin to 3D cursor. And then let's go to add modify, bring in a mirror and put it over the other side like that. Double-tap the end, just make sure you're happy with it, which I think I'm alright Finally then we just need to join everything together. So we'll grab this, we'll grab this part here. We'll grab the inside of here. If you can actually grab it all, just press B and box-like to finally grabbed the piano, press Control J. Before we press Control J, as I've told you many times, just make sure Object, Convert, mesh and then press Control J and I should be able to join it altogether. Now when you go into material mode, it should look like something like this. Now we need to do is just make sure that we've got the right materials on there. I'm going to come in, I'm going to grab all of these. So I'm just pressing L, L on here because you smart UV project click Okay, and then while do now is go over to the UV editor him. And we can see that our piano, for instance, whereas our piano on materials is on Atlas three and these are on piano. So I need to do first of all, is select all of these, not the wheels, sorry, the little petals here because we want those to be gold so they're okay on the other one, like cosign. And let's actually do those first. So I'm also going to grab these on the inside, like a sign, like so. And then what I'm going to do is grab these. I want to press you smart UV project click Okay, Hey, bring them down and we're going to drop them in, of course, that gold area. And now what we can say is it's not actually working because we didn't assign these as well to the right one. So I'm going to click on this one click Assign, or on this one click Assign. There we go. Got the right ones. Are they the right ones? It doesn't look like either the gold for some reason. One thing we'll have to do is bring in the other atlas. So I'm going to click Plus and I'm going to come to the down arrow. And the one I'm looking for is Atlas one. And let's then come in, grab all these click Assign, and there we go. They are the goal that we're actually looking for. Now, let's come to these parts. So what I'm gonna do is grab all of these, the inside of here, these twos parts here. And you can see they're already on wrapped. Are they going to be I think actually this is on the other ones. So when I click the down arrow and the one I want is this one here. And what I'm gonna do then he's grabbed them all, Paris the Yes button and bring them down and then just drop them in, in there like so. And now I just have a quick look around. Let's now go back to modeling because I think the piano is finally dome. Let's press Alt H, bring everything back. Let's double-tap the a. I'm just going to position myself here to see what that's gonna look like with the piano there. And they'll forget the last thing we wanna do then is grabbed the piano and turn it to 23.3. So 23.3, like so double-tap the a and now just have a quick look around and make sure you actually happy with it. Make sure nothing is flowing. And if we zoom out like that, you can see now that looks really nice. Alright, so what we'll do then on the next lesson is we'll probably make the music stand with the music con. And then a thing what we'll do is we'll work on the plant, all the lights. I think we'll probably do the lights first, then the plant, then the stall, and finally that sets. All right everyone. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 45. Creating The Music Sheet : Welcome back everyone to blend the three began to step-by-step guide to isometric rooms. And this is where we left off. Now I think the one thing I want to do before carrying on, I just wanted to actually come in and make these a little bit smaller. So I'm just going to grab all of these. I'm going to make sure that I'm on individual origins. I want to press the S button then jaws to squish them in like so and make them a little bit smaller. Then I need to pull them back now to pull them back at the moment it's on global, let's set this to normal. Sometimes it works, but you can see in this occasion, it's actually pulling in the wrong way. So let's put it on local and then I should be able to just pop those back into place like so. And now you can see it's a lot more inline with the realism we're going for. Looking at a little bit stylized there, and that's not something that we want. Alright, so the next thing then is we need to work on our music sheets. So let's actually do that now. So what I'll do is I'll, I've got my cursor over here. The moment I'm just going to plot my cursor down there. I want to press Shift a moment to do is I'm just going to create a cube. Then from there, I'll bring it up. And I'm just going to make it a little bit smaller. S and Y bring it in like so. And it just needs to be something that's just looks as though there's so much on music being held on that type of thing. I'm just looking now, we haven't actually got a place. We can actually put this. We just need to scale it to be the right size. So you can see at the moment, way, way too big. So let's make it a lot smaller. So S make it smaller. I think something like that then should be absolutely fine. Now let's just put a little top on this or something like that so I can also, it gives me a chance to show you something else as well. So if we combine and we grabbed the top face like so, and we press E just to bring it up like so. And then what I'll do is I'll press control law to left-click, right-click. And then all I'm going to do is Joe's pulled these out a little bit. So I'm going to make sure that I'm on medium point instead. I'm also going to press adult bone on the normal pad just to make sure that I'm actually moving around this orientation. So if a common now and I'll put this onto Medium point, then press S and X. I can actually pull them out like so. And then what I'm going to do is just pull down the side. So if I grab this side and this side, I can then just pull them down like so. And then what I can do is I can grab this face, so three or grab the face-like. So then all you're gonna do is just press I and bring that in. Like so something like that. Now we have got something we can use if we go to Edit, go to preferences, we're going to bring in an add-on. And they add on we're going to bring in is going to be something called loop tools. So if I press a loop like so, you can see we've got mesh loop tools. Just click that on, close that down. Then what we can do is we can right-click now loop tools and we're just going to click this one that says bridge. And he's just going to pop a hole in there for us, which I think looks much nicer. Now let's press Shift, ask us to select it and then we're going to do is I'm going to bring in a plane so plain, like so, I want to spin it round. So all x 90 press the space bar is pressed the s bonds or scale it in. And then what I'm going to do now is press S and Y just to pull it up a little bit, like so. And then I just want it sat on here. So I'm just going to come back to this part. I'm going to pull this bit down like so, so I'm just going to press E, pull it down, and then I'm going to grab the bottom of it and then just pull it out with E again. And just so it's actually sat on there. Alright, let's press the top. Go back to our plane now. So if I confine my plane, I think actually is my plane part of that. I want to press all teach, bring it back. Not sure where I should put my plane now. Did it just disappeared? There it is. Okay. So we can't actually see it. So just hide this other way. Grab your plane, pull it forward a little bit. I'll teach, bring it back. There we go. Alright, so now let's press Control Law. I'm giving you this an edge loop, so control or like so. And then what I'll do is I think I'll just bring these forward. I'm a little bit like so. And then all I do is just grab the back press Control B just to bevel that off a little bit. And there we go. I think that's going to look good as our music, musical sheet music. And then all I want to do really is just bring this out a little bit just to give it some thickness rather than just a plain. So I'll grab it, hold, press E to pull it out like so and then just push it back onto there, like so. All right. I'm happy with that. Now, as far as the colors go for this, I think what you wanna do for the sheet music, we've definitely got something for that. It's just this back bit. It's however you want to fix it. I think of first of all, we'll just put it into place. I'm going to I think I will keep them split off. I can move them over then. And then what I can do is I can spin them around. So if I press all said, actually we can't do as I said, because it's still on low-cost. Let's pop to global. And then all zed 23.3, that then we'll make sure that it's in line with the piano. Then what I can do is I can put this onto normal now. And then let's just set this in place, press the dot button again. And then let's just set this in place where it's actually going to go. You can see it's still way, way too big at the moment. So I think I'm going to pull it out to around about that, lift it up. And then what I'm going to do is make it a little bit smaller. It's way, way too big. Something like that. Let's see if it's just in place. So push it back against the likes. So I think what I'll do is I'll actually have this the same color as the piano actually thinking about it. So if I come to, if I grab both of these and then grabbed my piano, I can just press a Control J, and then I can inherit the actual materials. So now I'll do is I'll come to this one. So I'll press L, you smart UV project, okay? And then what we can do now is go to Materials and just make sure I'm on my right material. So I think I think it's this one anyway, so I'm just going to assign this and then I'll, then I'll actually have a look and see if that is the music she is also on there. So if we go to UV Editing, this is, let's have a look. So this is the piano part. This is what I'm looking for. So if I grab all of these, press the S button, I can drag them into there and there's the piano part done. And then what I can do is I can come to this part. You can see that the music isn't here. So I'm probably going to need Atlas one. Let's click on that. And then let's press you smart UV project click. Okay, and then let's put the piano one, atlas one on. So it's going to be the opposite. So it's going to be this one here, as you can see. Now I'm looking for, I've got my actual paper there. So all I need to do is basically grab these two. So if I grab these two, like so, like so, I'm going to press the Shift H again and then hide everything out of the way. And then you can say that actually works. But now we're gonna do is I'm just going to grab all of these, these three, these three like so. And then we're going to do is going to press a S and bring it down to, it's the size of the sheet music because you can see some Joel is going to then line this up. I'm just going to look to see if that's the right way round, which I don't think it is. So all hundred and 80 spin it round. And then G, line this up to where it needs to go. And now finally, I can just line all of these up. So if I press the S button, I can bring it out like so. And then G, line them up and then S and Y and pull it up like so. And now that looks about right. Alright, so the one, okay, so now let's come, we don't actually need to come around the back as long as it looks as though there's something there as you can see. Now let's do these parts. So if I grab this one and this one, so have a look at them ramped. Yes, they are. So now if I press a and then G and just put them where my book pages are, then press S and Y and bring those down like so, and then S and X and just pull them out. So it'll actually, it looks as though there's actually some paper there. And then now we'll do the same thing on the top though, Shift-click, control-click, like so. And then what you can do is you can just grab them. Here they are. I'm just going to read them, rank them. So I want to press you on ramp and then a S and then just drop those into place. I have a quick look at what that looks like and that's looking absolutely fine. Alright, so now let's just give it a look with, because at the moment you can see we've got a lot of shininess on. They're not, so not sure if I actually want that. So what I'm gonna do is I'm just gonna go back to modelling now. Press Alt H, bring everything back. And then we're going to do is I'm just going to put my render view on and just check out what this music is looking like. If it's actually too shiny. And I'm thinking it probably is, it looks way, way to shine it at the moment. What I'll do then is crests plus, I'm going to click New. And I'll call this music sheet like so. And then what I'll do is I'll copy the Atlas one, copy material. And then what I'll do is I'll pay for material in here. So paste material, I'll rename that because it's not really named, right? So let's get rid of that double hate music sheet like so. Then what I can do and I can come in, just grab all of this like so, and then assign it to the music sheet. And now finally what I can do is I can just press Tab. And then I can just bring this roughness. You can see some things plugged into the roughness. What I need to do is I need to go in and actually fix that in my actual shading panels over and come to my shading panel. Let's put it onto a rendered view again. And then let's come in. And what we'll do is we'll unplug all metallic like so. And now you can see already it's looking tons better because it added metallic in there. And now we want the metallic on zero. Alright, so now I'm thinking the roughness, do I unplug the roughness? Several. Ok. I don't actually think I'm going to pull it near enough all the way down like so. Alright, now the one thing I'm not through with this, it's, it's kind of going both sides and we don't really want that. So what we really need to do is put another edge loop then left-click, right-click, and then just grab both of these now, so this one on this one and just move them. So if I press UV Editing, you can see I've got loads of room. I can move it. So if I press G, I can just move it across. Very slightly, like so. And now you can see it looks it looks a lot better. Now the one thing you can see is that, yeah, Do I want to swap that around? And actually I think I'm gonna be okay though I'm going to leave it. I'm getting a bit too fiddly. Sometimes we don't need to be that fiddly. Well, I would have liked probably is this to be a little bit different? It seems to be kind of near enough the same as you can see on both sides. And it's a little bit different but not quiet if you get rho mean. So I'm just going to actually have a look and see if I pull it into this way. So g, x, Let's pull it into that way. Does it look bad? Yeah, now it's looking a little bit different. I think I'm much happier with how that looks. Alright, then finally, let's go back to modeling after all that mess around with that. I mean, it took a whole lesson just to do the music sheet. So let's say go to File and Save, and I'll see you on the next. And everyone, thanks a lot. Bye bye. 46. Modelling The Chandelier Lights : Welcome back everyone to blend the three beginning a step-by-step guide to isometric rooms. And this is where we left off. Now the one thing we can already say is that we have got some beautiful line in here already. And it's really actually starting to come together now. So that's really nice. I'm hoping that you've actually got some really nice lighting in there. But don't worry, we're gonna make the line much, much, much clearer and much better than what we've actually got here. So first of all though, let's actually finish off the build, which is still going to take a fair few lessons. Now let's put in some lights and then we can work on our plan. And finally then the actual sofa. And then it will actually be finished pretty much for the build. Alright, so let's call me want some lights actually hanging down here. So the first thing I'm gonna do is actually create the actual light. I'm going to press Shift day. I'm going to come in and go to cylinder. Let's bring in a cylinder. Let's put it on something like 20. We should be able to get away with that. Let's press the S button. Then I'm going to go into object mode because it's going to make it much, much easier. I'm also going to right-click and shade also smooth. And then what I'm going to do is make this the right size of where it needs to be. So if I press S and zed and just bring it like that and then press S. We can see now that that's more of a realistic size than what it was before, they do need to be quite big. The reason is because obviously it's the quite high up, it would be a big light is basically what I'm saying. So now we've got one in there. We can actually pull this to the side, like so. And then what I can do is I can bring another one in. So if I press shift D bringing another one like so, and then Shift D bring in another one like so. And then shift they bring in one more. Like so. And I think that's what we're going to go full. And then what I'll do is I'll pick this one up like so. I think I'll make this one a little bit longer. So S and Z, and then what I'll do is I'll make this a little bit smaller, like so. And I'm going to probably pull this one down like that. I'm just trying to get some nice composition in here. So I'm going to press S to bring this really thin S and Z, bring it up. Then I'm going to lift it up just a little bit to get a bit uneven. And then I'm going to grab on this one. I want to press the S button again. I think on this one, I'm going to leave it. Yeah, I think I'm going to leave that one and just look in now. Maybe. Actually, I think I'm going to leave them like that. Now I want to do is just type them up a little bit. So if I bring this one in a little bit, bring this one in a little bit. I think I'm happy with how that looks actually now. Okay, so now what we want to do is we want to make these actually into the lights. I'm just wondering if I should keep them. Just a simple 2D objects, but I don't actually think that's going to work. So I'm going to do instead is I'm going to actually grab them all now. I'm going to press Control J to join them all together. What I've also noticed is that I didn't actually have keystrokes on there, so I've just put those on now. So sorry about that, everyone. Then what I'm going to do is going to press Tab. I'm going to grab each of these then. Like so I'm going to come to the bottom, do the same thing. Then what I'm going to do is I'm just going to press I like so. And then finally all I'm going to do is right-click Loop tools and bridge. That's actually not worked because they obviously can't do too many in one go. So I'm just going to have to come in and do them individually. So like so, like so, and then underneath, like so, and like so, and there we go. Alright, so now we actually need the actual lights for this. So all I'm gonna do is I'm going to, I've got actually this one, as you can see, already selected. So if I press Shift S because to select, that's going to put it right in the middle. And then while can do is I can press shift day and bringing a another cylinder like so, make the cylinder smaller. The size it's going to be. Then going to bring it up like so, Essence add. And you can see that it's unnormal, so it needs to be on global. So then essence add, bring it down and then make it a little bit smaller again. And now I just wanted to put some little feet that are going to come out with here. Now we know this is on 20. So what we could do is go round every, every two, maybe, something like that. So if I'm grabbing every two, like so, like so and then like so and then what I can do is I can press the I-band to bring those in, holding the Shift button. And then I can press E and two and then alternates, and then I can bring them out like so. Now I'm going to grab the whole thing and just come down to where I want it to be. And you can see that I need to bring them out a lot, lot further than that. So instead of doing that, well, just press Control zed seven, sculpt over the top and then all tests bring them out like so. Now they get chunkier as they go out and I don't really want that. So what I wanna do is I'm going to put this on normal. I want to put this on individual. And then all I'm going to do is press S and Y. And you can see now I can actually bring them in right at the edge, like so. And that then is much, much better and much more what I'm actually looking for. Alright, so now we can grab the whole thing. Now we can actually bring it down. So pull them down. You can see, again, we need to put the song global to make sure that comes down properly like so. And then what I'm going to do is lift the middle bit up slightly. So if I come in and grab this. And this, if I pull that off now it's never going to work because we have a little indentation there as you can see, that insert that we did. So you can see file, it's not going to work if I press Control plus though, now bring it up, then it's actually going to work and look much better. Now finally then let's create the top. So I bring it in and then E. And then I bring it in. And then hopefully we can pull this up now. So E, pull it up like so. Alright, so I'm happy with that. Now, let's come to the other. So all I'm gonna do is grab, yeah, first of all, I'll grab the insights. I've come to this one, Shift S goes to selected, grab this one, and then all you're going to do is press Shift D to duplicate it, drop it anyway, it doesn't really matter. Then what you can do is you can press Shift S selections curves to keep offset, and then you can bring that up then and make it smaller. Like so. There we go. That's looking pretty nice. Okay, now we'll just do the same thing. So Alt Shift and click Duplicate Shift S to selected. There we go. Bring it up and then press the S bond to bring it in. Bring it up a little bit. Like so. And now the last one, so I'll probably use this one. So I'm going to press Alt Shift and click Shift S goes to selected, grab this one. And then Shift S, vistas, selections cursor keep offset like so. Then bring it up. There we go. Alright, is that going to fit him properly? I think it is. Now we've got all of those together. So all we need to do is right-click, Shade, auto smooth. And then what we're going to do now is just bring them into play. So if I bring them into place where I want them to be, which will be right above the piano. So something like here. And then we just have to make sure that we're happy with the actual heights. I'm just going to, we're going to have a piece out here That's actually going to hold these all in place. I can say if I go over the top that they need to be kind of just over the piano top like so. Then what I'll do is now create that separate piece in there. So I'm just going to press Shift S because the selected shift a, let's bring in a cube, the cube smaller. Let's bring you up. And then all I'm going to do now is just make it the right size so you can see the quite far out. So I'm probably going to press S. Will I get them all with that I think are well. And then I'll press S and Z like so just to fit that into place and then I think I'll just give you a top as well. So if I come in, grab my top, I'm going to press E and S, pull it out and then e just to put it in, like so, and then L and then just swap that into my actual ceiling, like so. Alright, so now I just want to bring these are the low enough. I think actually they are low enough. I think that's absolutely fine. So what I need to do now is just make sure this top piece is in. So if I press H on this, you can see that it's actually in there nearly touching the ceiling. So I'll teach, bring that back. So now I want to do is come to these parts, grab each of the top of these, like so, and then pull them up and then we'll see if they're in place. You can see it's a little bit out here. So I need to kind of pull that over a little bit. So I'm going to do is come back to this over like so. I'm just wondering if I want to pull this one in. So if I come to this one, for instance, I think I'm just going to pull them in those to Todd like so then I'm going to come to this one. I think I'll do the same thing on this. So l and l bring them in. And now I'm happy with that. Alright, so what we'll do then on the next one is we'll get the materials in for these, and then we'll actually get the lights as well in that. Alright everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 47. Working With Point Lights : Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. So now it wants to do is bringing a new material. But before we do that, let's actually find M and C which materials are going to use. So here we are with our textures again. Let's go to outlets one first. We'll open this up. And what we're looking for is a don't think it's actually on here. So we've got microphone top. No, it's not any on there. So what it's going to be on the is the atlas three. So let's just check that. So I think on the atlas, see, we've got our fabric, which is really nice. And then we've got our silver metal. So we'll actually use these two here so we know it's Atlas three basis. What I'm saying, alright, so what we can do now is we can just come down bringing outlets three. Let's put it on material. And then what we'll do is we'll unwrap these now with the actual fabric. They are going to be a little bit more difficult than the rest of it. So what I'll do first is I will, I might as well join this up as well. So I'm just going to press Control J, join it altogether. And then what I'll do is I'll grab this, this, this, and this one, and this one around here obviously. And I can get away pretty much with pressing U and smart UV project on these. And then walking goes, I can go to over to my UV editing panel. I can put this then on the atlas that I want it, which will be this one here as you can see, a then S bring them down. And basically I'm just going to fit them into their life. So let's see where they are. Let's press Alt H to bring them in and doesn't look like it's so I'll teach question mark. If that's not working. There we go. Alright, there we go. There's the metal in now. That's looking pretty nice. Now what we can do is we can come to these parts here. So I'm going to come in again. What I'm gonna do this time he's grabbed each of these and then I'm going to press Shift H and just hide those out of the way. And now I'm going to do is I'm just going to come in and add in some seem so Alt Shift and click. I'll go around the inside first. So just so we don't have infinite loops. And then what we need to do is we need to go around the outside. Like so then beta, we need to be very careful than where we actually mark all seem so Alt, Shift and click, you are always gonna get some seem there. The trick is same way that if you creating things for games, you want to hide those seams as much as possible they found now right-click and come in and more cosine. Then what I can do now is uncommon around the backup via because we know we're not actually going to see round the back. So if I click on this link, on this Shift-click base and Shift-click this right-click a marker seem now the base is going to come around to here before it actually restart. Now on the inside, you better off doing them like from here because, you know, the cameras looking from here, it's not going to see the inside of here. That's why we're just going to come in. Nicole of these right-click and mark scheme. And now we can pretty much see that everything should unwrap absolutely fine on these. So now if I come in and press a, press, you press them rap, and there we go. Now, let's come in and just do these separately. So if I grab this one, what I can do now is press a S and then bring it over to where I want it like so. Now if you're not happy with it, just bring it out and make it a little bit bigger. Is an atlas after all. So we can make it a little bit bigger or press G and get it into place. And then I can grab these two on their own with L, G, drop them into place like when there you go. Alright, so that's looking pretty nice. Now, let's calm with these. Now, the other thing is that we haven't spoke about actually is the fact that the atlas on this, so these are both atlas three. I need to create a new one and I need to create it and call it fabric. And the reason I need to do that is because I want this fabric to be slightly see-through. So I need to come in and click the plus button New. And we'll call it barbaric lights, like so. And the other thing is, at the moment, these are looking, they're looking too much. They don't look enough like lights, it kinda needs to be a lot lighter than this. We only want to basic kind of this kind of pattern showing through. So we need to work on that. So now I'm going to do is I'm just going to click this, grabbed them all. Click Assign, like so, and then just go back to this one, click the down arrow copy material, and then finally paste material on here, like so. Now we can come in and grab all of these. And then what it can do and come over the left-hand side, I can click Image, sorry, not Image UV. And where is it? Pack islands, like so. And then I can actually work at it from here. So you can see now much, much easier to put them in place. Now I can just grab these two, hold them in place like so. Now you can see that pretty much all looking the same. Alright, so let's do the same thing with this one. So I'm going to grab this one over here, uv and then pack islands make them smaller, like so. And then G bring them into place. Now you can see with this one, I think that the wrong way round. So if I press all 90, I think if I press S now and then G and bring them down, I'm just looking. Yeah, I think I'm happy with it being like that. And then finally I'll just grab the tops. G, put them in place. Now let's come to this one. So L and then a, and then UV and pack islands, and then S, then G, and then S on there, S on here, pull them in its place and then grab both of these with L, G, put them into place like, alright, I'm happy with that. Now, let's just pull this over a minute and let's just put it onto our rendered view. There you go. You can see exactly what we've got at the moment. Now we can't really do our actual material until we've actually got some lights here. So the best thing to do is bring in our lights first. So to do that, what I'm gonna do with first of all, I'm just going to put it back on material. I'm then going to come in. I want to grab, let's do them independently. So if I grab all of the insights, so Alt Shift and click Shift S cursor to select it, and then Tab Shift a. And then we'll bring in a light. So we'll bring in a point light like so. Now let's change the sign. So I love it a little bit tiny, tiny bit on the yellow. And then what we'll do is we'll turn the radius down to nought point one-four, like so now you can see that it's, it's not like spreading out so much and that's exactly what we want. Now let's come in and just put it on rendered view again. Now the thing is with these, now you can see look, that's actually shining through that. And then what we want to do is just pull it down, like so, so we've got a kind of a bit of shine coming through here. And you can see also it's shining on there as well. So if I bring this out just down, just a tad, like so it will bring it down all the way you can see as too much time. So we want just a glow down on the bottom. As you can see that that's basically what we're looking for here. Then if I put this slide up too much, you can see now it actually gets rid of it. Bought, it actually shines more on that. So if I bring this download, you can see more on there as you consume. We really don't want it like that. We actually want it pointing down here. So I'm just going to set this on not 0.1 full, like so. Then when I bring it down, that's something I'm happy with. Like so now we need to do is we need to basically do this for the other two. You can also say as well, I think we've actually can see slightly through that and that is exactly what we're looking at. That is because within this actual material, we've also got transparency in there, which we brought him when we brought all this material in. Alright, so now let's create our other lights. So what I'm gonna do is I'm going to do exactly the same thing. So Alt Shift and click Shift desk because two selected tab grabbed this slight shift D and then Shift S and selections cursor. And then what you're going to do is just bring it down again like the other one, just so it's shining at the bump. Again. Now it's just rinse and repeat. So I'll Shift and click Shift S to selected top. Grab your light Shift D, like so, and then Shift S cursor to select it, which is not what I wanted. So let's do that again. Shift S because the selected and then Shift S, selection cursor. There we go. Now let's bring that down a little bit. So I'm happy with it, something like that. And then let's bring in 1 mol. So if I grab this one, I'm going to press Shift D to duplicate that point over there. Come to this one then tab alt Shift and click Shift S goes to selected. And finally then grab this one, Shift S and selection cursor. And now let's just bring it down. The way we actually want it. There we go. Now we can see we've got some nice lighting on there. Alright? You can also say if you go above here, that we've got some nice light shining on the piano. Now then let's think about this part now, then, this fabric light. Let's actually go over to our shading panel. And I'm just going to let it load up. Now I can see what I'm actually looking at. So what I was talking about is you can see here we do actually have this alpha here and that's exactly what I'm on about. Now, as I said, we've got this Alpha in here. So we can actually use this at the moment. So you can see we don't really have anything we can use it with. So what we need to do is press Shift day, bringing in an RGB curves again, drop that in, and then you'll see now if I pull this all the way down, we can actually have it completely see-through. All we can pull it all the way up. And now nothing basis seen through. So while I tend to do is I'm just going to bring it down very slightly. That's still too much. Bring it up a little bit. Like so double-tap the a. Let's have a look at that. And I think actually that's gonna be what we're looking for. Now the other thing is that the moment you can see that we've got some lights coming off here. But it would be better if we actually was able to control the emission from the actual light. So in other words, what I'm saying is, I still feel like that's maybe, maybe a little bit too see-through as you can see, it's kind of going through that it might be just a tad too much. I'm just going to pull it open. Pull it down here. Yeah, and that's looking I think that's looking much, much better now. Alright, so now let's come and grab the color of here and pull it in to your mission over here. So if you pull that in, you'll see now that they actually get a lot more. And we can actually control that. So you can control and bring that up if you want them really, really bright, you still then going to keep the texture on there. Obviously this is way too much, so I'm just going to drop it down a little bit, drop it down a little bit more. And I think that might now be about right. Maybe it's still a little bit. Let me just bring it down a little bit. I'm bringing you Oh, very slight. Let's bring it up very slightly. I think that might be about right. I'm just looking over the top. I'm looking at this obviously. I'm thinking that's probably going to be about right. Alright, so what we'll do now then on the next one is we'll start with these lights over here. And then finally we, then we can move down to our actual plant pot. Alright everyone, I hope you really enjoyed this and I'll see you on the next one. Thanks a lot. Bye bye. 48. Creating The Small Modern Lights : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Now if we come to modelling, so let's go back to modelling. Let's have a quick look of what our hardware looks like. So double-tap the a, Let's put it onto rendered view. And let's also click off these little interlocking bowls, which means that will get rid of those lights. And now we can actually have a real good actual view of what it actually looks like. An I think it's looking pretty nice. Not sure at the moment. If I need to make these lights a little bit brighter or not, maybe, maybe undo. Let's just give one a try. So let's turn it on something like 50. Let's have a look at that. Then let's actually turn off the interlocking links are down, double-tap the a and then you should be able to see now exactly what it looked like. A maybe, maybe that's actually going to look better than what it did before. Let's try putting it on something like 30. Little bit. Yeah. You can see it looks just a little bit better than what they did. So I want to turn my interlocking links back on. And then what I'm going to do is I'm just going to grab this uncertainty, grab the next one. The tea, grab the one through here. I think it is this one here. So let's see. There we go. Now let's have another look at what that looks like. A yeah. And I think that's just looking at Tom Tom better like that. You can see I've got a lot of shine on this, on this over here, which is absolutely fine. We come over here now. Yeah, I think that's looking much, much better like that. Alright, so enough messing around with those. Let's now put on object mode, and let's make these little lights out. We've actually got the top here. So I'm just going to create them away from everything. I'm just going to shift right-click over here. And then what I'm going to do is I'm just going to bring in a cube. I want to make the cube smaller. And then I'm going to pull it away. So S and X from each other like so, then all I'm going to do is just bring my guy over and all I'm doing is just making sure the scale is right for them actually being light. So I'm just going to grab it, essence, add, pull it down together like so I think from that, if I make it a little bit longer, so something like that, I can actually fit two lights then on here. Alright, so let's make the little indentation that's gonna go in. I'm simply going to press top, grabbed the middle of it. I'm going to actually reset all transform. So control a Ultron Psalms right-click set origin to geometry. I'm going to press Tab again, press the eyeball and bring it in like so. Then I'm going to do is bring it out. So ie extrude up like so. Okay, now let's make our first actual light then if I press Shift day, I'll bring in a cube. I'll make that cube much smaller, like so. Then what I'll do is I'll also a think, bring it down. So I'm going to press S and then I'm going to bring it down like so. And then what I'm gonna do is bevel these actual edges here. So basically this now a Matters role. Rotate it round first. So if I grab both of these, press all zed 90, let's rotate it round. And then let's put this over here because this is basically where it's gonna go. Then from there what I can do is I can work out now that how actual big this is going to be. So if I come in, for instance, now, I can grab both of these. I can actually press Control B, scroll it up a little bit like so, and bevel it offline. So right-click, Shade Altos move. And I think that is something I can work with. I just need to squish it down a little bit. So essence add squishy, done a little bit like so again and just pull it up into place, like so. Alright, so now let's make the actual lights on here. So I'm going to press Shift S goes to select it because I wanted to start from here, shift day. Let's bring in a cylinder. Let's rotate this cylinder around. So all x. Now all why 90? Let's make it smaller. And we're not going to worry about Tilton it or anything like that at the moment, all we wanna do is just get the right scale. So you can see already that, that at the moment is looking about right, then all I'm going to do, I'm actually going to leave it like that because I think the halfway point is actually working pretty nice. So then what I'll do is I'll just pull this out. Like so. There we go. Now we can actually think about the inside of here. So I'm gonna do is I'm gonna press I like so. And then I'm going to press E and pull it back like so. And then I bring it in again so you can see it's looking something like that and then pull it out to about here. Then all you're going to do is press Control B and pull it back and just give yourself the actual light that's going to be on the inside. Now right-click and shade auto smooth. And there you go. You've got yourself a light. Now if you do want it to be pulled back a little bit further, or you need to do is just press Control plus Control plus once you've grabbed that and then you can actually pull it back a little bit further. And I think actually that's looking a little bit back. Now let's bring in a, another cylinder. So shipped a mash cylinder, make it smaller again. Then all we're gonna do is bring a piece from this top now all the way down to the other part and plug it into there. So if I press S and needs to be a little bit thinner and then come underneath, grab the bomb. Down like so. And now, right-click, Shade, auto smooth, and then just make a couple of circular pieces now, just to go and add to give the illusion of it actually being able to tell and things like that. So all I'm gonna do, I'm going to press Shift S goes to selected shift a. Let's bring in another cylinder. I'm going to turn this down to something like 16. And then what I'm going to do is I'm going to press S, bring it down, rotate it round so all x 90, make it a little bit smaller. Bring it then to this side like so because we've got our cursor in there, which means we can use that as a mirror. And then S and Y pull it together like so. And then just put it down here. And then finally, I'm going to do is I'm going to make it a little bit thinner. So SY, then I'm going to do is pull these parts out. So if I grab both of these, like so, press E and just pull them down. And then finally I'll just give it a little bit of a taper on the inside. So in other words, I'll just bring it in with I then proceed and pull it back a little tiny bit, holding the Shift button. And there we go, right-click Shade, Smooth. And now all I'm going to do is mirror it over that side. So Control a or transforms right-click set origin to 3D cursor. And then we'll add in a mirror modifier, put it on the y, turn off the x. There we go. Now let's press Control J. So all, why? Tilt it down a little bit and then All, and zed, like so. And the one problem I do have areas. When a move that you can see it's moving from the wrong angle and I don't really want that. It's okay when you tilt it, but when you move in it rounds, it should move from here. So what I'm gonna do is I'm going to first of all grab this. So Shift H just to isolate everything else all the way, come down to the bottom of it, and then Shift S because it's selected and then back again. So I'll teach, bring everything back, back to your light and then all you wanna do is set your orientation to here. So if I right-click set origin to 3D cursor. Now you can see that when I actually rotate this round now it's kinda rotates in much, much nicer what it was before and keeping it in that kind of place. Now the one thing you can see here is that when I'm rotating, I'm not actually rotating all of this. So I need to join this, this, and this with this. So Control J. And now when I rotate this, everything kinda rotates around and that's looking much, much better. Now I can simply just grab it, hold, press shift D, bring it over then. Just so if I press three, you can see I just want it to be the same from here, but these things are supposed to be able to slide anyway. So all I wanna do now is grab this oh, and just spin this one round, like so. And you can see just how easy it was to actually create those. Alright, so now we might as well join it altogether. So let's join it altogether. We looked to be the right scale as well. I'm happy with the scale. Let's press Control J like so. And then what we'll do is right-click and shade auto smooth, just making sure that's okay. And now find that what we're gonna do is we're just going to create the metal for these. So I'm just going to come in, grab them all. I'm going to press a you and smart UV project click Okay, like so. And then all the ones do is I want to make sure that the same material as these, but I'm just going to grab these and then grab these lines, press Alt, press Control L. And I'm going to link materials like so. And now in a comeback to this, come to my materials, you'll see we've actually gotten materials. Now all I want to do is just minus this one off. So minus the fabric because we've obviously got now fabric on here. And then find, let's go over to our UV Editing. Let's press dot to zoom to these. Let's grab them all so we can see what we're doing. And you can see that these a couple here just in the wrong place. So all I'm gonna do is just drag them in and then I'm going to press a to grab everything S and then drag everything into here. Like so when you should end up with something like that. Now of course, the one thing that we've not actually looked at is the light. So we need to actually create an emission for the lights. So all I'm going to do to just simply grab both of these lights, but grab this, grab this press Control plus like so, gills going all the way down into that, that much like plus nu. And we'll call this just simply light, like so. And then we'll go and all we want to do is just pull this out a little bit. So this bone here pull it out. I want to change this then from principle just to emission. Then all the ones to do is sign it. So if I sign that now, now you can see we've actually got some nice lights. Alright, so finally then let's go back to modeling. Let's actually save out our work. And on the next one, what we'll do is we'll actually put these into place. And then finally we can make a start on our actual plant pot and on our plan. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 49. Working With Foliage : Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's actually put this in place. So all I'm gonna do is pull it into the place where I want it. I'm going to pull it a little bit over this way, something like that. I'm going to press dot just to zoom in. And then I'm going to put it onto here, around about here, and then pull it up into the actual ceiling like so. And then just gonna look where that actually stands maybe a little bit further back. Then what I'm going to do is double top. And again, I'm always going to check them on my render view just to see what that looks like. Yeah, nothing that's looking pretty nice. I'm actually looking at the glow off of here. And of course she not really going to have these. It's because of the lighting. These shouldn't really be little ball kinda shining on here, anything like that. If we're doing a night scene or something, then they would be what we're not actually doing that we're focusing more on the diesem. Alright, so now let's go back to object. And then what we're gonna do now is we're going to actually use this as the size for our actual plant pot. So if I press Control eight, all transforms, right, plague, origin to geometry. And then what we're going to do now is right-click and shade auto smooth festival. So if we open our reference soap pump pure red, we can see that we actually have a plant like this. This is the kind of plan that we're actually going for. And I would make this probably a little bit nicer than this. Obviously we don't want to sign just to plant pot in this style of room. So we're gonna kinda base a little bit rounded, a little bit on this and make it just a little bit more ornate full the actual plant pot. Alright, so what I'm gonna do is I'm going to first of all press Control a or transforms right-click origins geometry. And then we're going to do now is come into the bottom. I'm going to press Control V and just bring the outline, so make it a little bit more rounded. Then we're going to do is I'm gonna press Control or maybe bringing three edge loops, something like that. Left-click, right-click. And then what we'll do is we'll come to this part here, make sure we've got proportional editing them. Let's try it with that, that we've actually go. So you can see at the moment it's on this sharp. Let's have a look. Do we want it more like a root? Let's try the root one and see if that's going to make it a little bit easier for us. And I think, yes, That's looking a little bit better. And now what we'll do is we'll also put a band going around the top of it. So what I'm gonna do is I'm going to bevel this out first of all. So Control B, Beverly out, turn them down. We only want one or something like that. Left-click. And then what we'll do now is we'll put a band around the top. So control law, left-click and then all I'm going to do now is bring this out. So if I Alt Shift click and I'm going to press E, enter alternates, turn off proportional editing. So alternates bring that out like so. Now I want to do is bring this part in. So all I'm gonna do is just, I think just drop it straight down. So if I press E, I can drop it straight down like that and then I can create my soil from here. Alright, now we need to do is just bevel of these top parts. So Alt Shift click, Alt Shift click, and then Alt Shift click like so. And then Control be holding the Shift button and then just turn them off, maybe three left-click, right-click. And let's just drop them in like so. Alright, so that's looking pretty nice. Now what we need to do is we'll just actually create the soil. I'm also thinking that this is probably because I've brought it out so much, probably a little bit too big. You can see that it's looking it's looking quite big. I don't think it should be that big, so I'm just going to press S. And then what I'm going to do is press essence ad and just bring it up. And I think that's more, more or less a better scale than what we had before. The only thing I'm thinking is, is this too thin. If it's too thin, we can just simply bring it out. So if I Alt Shift, click Control plus Control plus Control plus, and I'm just going to keep going just to the top just before I get to there. And then minus off this, this part in here and then press all tests, sorry, and then press S and just bring it in a little bit like so. And I'm thinking that looks nice, but we've got now an edge on here now and I don't really want that. Go along gonna do is fix this with Alt Shift and click bring it down like so, and then grab this part, Control B, round it off again. And now I think that's looking much, much nicer than what it was before. And I'm just going to hold the Shift. I'm bringing it down to the floor. Like so maybe we bring it out a little bit. And yeah, I'm thinking, that looks pretty nice. Alright, so now we need to think about our actual plant. So I think there'll be four. We do that. What we'll do is we'll separate this part off. So if I come in, grab this and then one wins, do is just press P selection jaws to separate out. Now I can grab this press little question mark and now just isolate that off. Now because we want to actually make this look a little bit like. So what I'm going to do is I'm going to grab the face of it. Just tastes like grab this face, delete and you're going to delete only faces. Then you can come to edge select, grab all of these edges going round. What we're going to do is come to face and you'll have one that says agreed, fill just fill that in. Then I'll give you a lot more kind of even out all of that mesh, which makes it look much, much better and more importantly, much easier. It's coming then add in a subdivision surface, then it all maybe to, to press Control a. And now you can see that's what we're left with. Now what we can do is we can actually come in, grab one of the points right in the center. Click on proportional editing. And this time we're going to put it on random. And now when I pull this up, you can see that it kinda brings it out into the center like so, right-click, Shade, auto smooth. Now you can see it's looking a lot more like soil. Now if you've got Bates, they're still cold like this. That suggests that we just either turn this up just to get rid of those. And you can see that's looking pretty nice now. Alright, I'll teach. Let's come back then to our plan. Voltage doesn't work. Just press a little question mark, and there you go. You can see that looks at Tom, tom, Beth. Now let's grab both this and the plump pop. Let's press the little question mark. And now I'm gonna do is I'm going to bring in the leaves that are going to go. So the first thing we can do is press Shift S because disliked it. Yeah, I think I'll bring in a cylinder. So shift a, let's press Shift a, bring in a cylinder. I want to make the cylinder smaller, like so. Bring it over, make even smaller. And then press S and Z, just bring you up to the height that I actually want it. So maybe something, maybe something like that. We can see it's a bit thicker the moment, so I'm just going to squish it in and then bring it up like so. And then one wins do now is I'm going to actually bringing some edge loops. I'm going to press top control law, bringing a few edge loops, left-click, right-click, like so. Then what we need to do now is think about our actual leaves. Let's right-click and we'll shade auto smooth. And then what we'll do, we'll, we'll actually said we'll bring in our leaves if you look on the actual plants. So on the reference again, let's bring it over and zoom in. We can see that these are kind of the leaves. You got a lot coming up like that and then a lot of bending out there, all kinds of different sizes and things. And that is definitely something we can actually create. The wall I'm gonna do is I'll use this one and we'll make some a little bit smaller once we've actually got all leaves into place. So let's bring in our first leaf. So I'm going to press Shift S because the selected shift a, let's bring in a plane. Let's rotate it round so our X 90, let's make it smaller than, Let's really squish it in. So S and X squish it in, pull it out a little bit, and now come in again and press control law. Then I'm, what I'm gonna do is add in a few edge loops like so. And then when they come into the top of it, I've still got proportional editing on. I'm going to pull it out and smooth. Now let's actually put it on two root, let's put it onto rule and then S and X. Let's bring that in. And then let's bring all. So they said, well, bringing you a little circle so it's not quite quiet out there, then all we need to do is make this a point. So I'm just going to grab both of these. So I'm going to press M and we're going to merge them. Center, like so. All right, Looking good for our actual root. Now we need to do is we need to put these in place. So if I come and I go up to the top. So if I come here and put it in here, like so I think what I'll do is first I'll bend it. So if I press all NX and just put it in like that, and then what I'll try and do now is just bend these bits down. So if I come to the point, let's see if I can actually turn that on. Press the G born. I'm actually going to rotate it like that. I don't think that's actually going to look. So instead, let me try it on shop. There we go. Sharp is actually working. Okay, so that's looking good. So I think from there we can actually work from this and Olin base is going to do is I'm going to press shift D. I'm going to rotate it round so our Z, I'm gonna go over the top so I can actually put it in. And then all I'm gonna do is make it smaller and then put it back in place, like so. So you should end up with something like this. Then what I'm going to do is I'm going to wear, grab both of these seven over the top, Shift D, and then All and zed rotate them around. You can see at the moment as well, they kinda rotates into the stem, so I'm just going to delete those. And instead of doing that, I'm going to hide this out of the way. And I'm going to come in and just grab the bottom of these, like so. And then we're going to do is I'm gonna, I'm gonna actually press Shift S, Crystal selected. I'm going to grab this one and then set origin to 3D cursor. And then I'm gonna do the same on this one. So Shift S because that's selected right-click set origin to 3D cursor. And the reason I've done that is obviously then when I come in, so again, if I press a press krill a question mark now it didn't less press Alt H, bring it back. So now what happens is when I grabbed these, if I press shift D and I press Alt Z, you can see now the moving from where I want them to, which is much, much easier. Well now all I'm going to do is I'm just going to press seven. I'm going to press shift D. I'm going to rotate them around. So all zed like so. I'm going to make these one's a little bit smaller and then Shift D or rotate them around like so. Then what I'm going to do is I think I'll bring some more in this side first. So Shift D or zed make these a little bit bigger, like so. Then I'm just going to make some now down here. So basically all I'm gonna do for those, I'm just going to grab all of these and then press shift D, then just bring them down. And then what we'll do now is on the next actual lesson, we'll actually start getting these in place before we do that though, let's just press Alt key and just rotate them so they kind of in, kind of in-between each of these. And then what we can do now is we can actually come in and fix all these. So they're actually kind of all over the place is what we're looking for. All right, everyone. So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 50. Easy Ways To Create Plants : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so before we start, let's just grab them all like so. And then I'm going to right-click and shade auto smooth. There we go. That's what we're left with. A knife would come in and we come in with proportional editing on this one here. Now if I come in, I should be able to grab, let's say one of these and press G and just bring it down like so. And I'm just grabbing them individually as you can see, and just bringing them down now. Like so just make sure you grab the ends. I'm thinking we're just going to grab the points, actually. This one here of the points, like so and just start bringing these down to where I actually want them. Make them look a lot more realistic. So then I'm just gonna go to three to the other side. Now, let's look at 13 and bring some of these down. So I'm just going to look at what that looks like. And then I'm just going to now bring these down. So I'm just grabbing this, bringing it down a little bit. Just mixing them up a little bit. Like so. Alright. Yeah, that's looking pretty nice. Alright, so now all I need to do is I need to think now about creating another one and then kind of randomizing them. What I'm gonna do is I'm going to actually grab this. I'm going to press shift D, bring it over and then Shift D bring it over, I think four or five. So Shift D bringing it over and then Shift D and bring it over. Now what we're going to do is we're going to come to this one first. And what we'll do is we'll grab the top of it. We've got our proportional editing unstyled, and then we can just press S to bring that in. We can grab it around near them and press the S button and just make it a little bit uneven. So the first thing we're gonna do is just hold shift and click, press the S bone and making it a little bit uneven like so on the bottom we want it to pop out a little bit. So if I press S on the bottom, like so. And then what we can do now is if we just grab it, we can actually press G, kind of move it around a little bit and make it look a little bit more realistic. Like so. I'm just wondering if it's a little bit too thick still. So if it is, all we can do is we can squish it down like so press S said, Pull it up to where we actually want it. Doubles up the a. And I'm just looking now just to make sure I'm happy with how this is there any stragglers or anything like that. And then one way to do now is I'm going to delete these ones because I'm more happy with how that one looks. So all I'm going to do is press Shift D and I want to press S and Z, like so. I'll just bring it down and then Shift D. And then essence bring it down. Like so. And then we'll grab this one. So Shift D bring it over, essence, bring it up. And I think we'll have one more and I love this one. So Shift D. Now, let's rotate this one around. So our xhat, let's rotate this. So let's rotate this one. And finally this one. Okay, now let's join all of these together. So if we grab all of these, if you miss any, just try going around the outside of them. Press G just to make sure you've got the more you can see I've got this one as well. I don't want that. I can also say that I've not, I've missed one. So G, Now I've got them all. As you can see, press Control J, select one first, then press Control J, join them all together. And then what you're going to do is just press shift D and bring them down to the next one like so, move them out if the too much in the way. So let's just split them up a little bit. Like so, like so and then grab it and then Shift D, like so, and then Shift D, like so. And then Shift D like so. Alright, so I'm happy with that. Now all I want to do is make these kind of different. So all I'm going to do is I'm just going to grab the first one. I'm going to grab all of these, then I'm going to press one. I'm going to press G. And we're going to do now is I'm going to actually put this connected only and just turn it off. And now if I press G, you can see that we can really start to move these around and make them look a little bit different from what the other ones do. But if I grab this point here, like so, then just pull them around and just try and put them into place and then come to the next one. Same thing again, I'll start though with rotating it. So if I press Alt Z, see now it's looking different already. Just pulling them into place, making them look a little bit different. Okay, so let's grab this one. I'll zed, like so. Let's grab right in the middle, then pull these kind of in its place, try and line them up again. Now, pull them into the middle. And you just basically playing around with these because they are plants, so they're going to be different from each other. Now let's grab this one. So now finally we can join them all up together. So if I press Control J on each of these Control J, and then this one Control J. Finally, this one Control J. Then this one and this one Control J. Now let's bend them a little bit because they shouldn't actually look like this. So what I'm gonna do is again, I'm going to put this, this time. I'm going to grab this one and press Tab and put this onto smooth. Let's try that. And then I'm just going to grab this and I should be able to now just move it over and make it a little bit uneven. So if I grab this one now, bring it in a little bit, maybe. Let's pull it over this way actually. And then this part like so. Then we'll grab this one and we'll pull it over this way. So if I go in now, grab this, like so, and then let's come to this one. Grab this and pull it may be the other way, like so. And then let's finally grabbed this. And let's pull it that way. Alright, I think we get in that thing. Do we need to make these a little bit rough or anything like that? Let's bring our plant pot over thirst and then we can have a gourd idea of how these are going to look. So if I put this one in here, then I put this one, and then this one. Then this one which is the small one going over here in a minute, rotate that one round, like so. And then this one, where do we want this one isn't even going to fit in. That's the question that we need to ask. I'm going to put it in the front and then I'm going to try and rotate it round, like so and have a look if I actually need that one in over here. Yeah. And actually, I think could do. I think I actually I do and I think a double-tap the array now. Yeah, that's looking pretty nice. I think I'm happy with that. Now if I grab the whole thing with B, just grab it all and let's put it into where it's gonna go, making sure they're not sticking through the wall or anything like that. Now you go warm plan actually don't really, really easily to do that as well. Now, one thing I do need to do is I need to join all these up together really. So what I'm gonna do, I'm just gonna go in, select each one. When to grab my soul, grandma plant pot. I'll grab my soul last because I know that they actual maltose move is to know which may smooth some of these edges off as you can see. So if I now press Control J, you can see now everything gets smoothed off. And now it actually looks much, much nicer as you can see. Alright, so you can see we've got some interactions with some of the plants actually touching each other and things like that. But to be honest, they do. That's how that's how it looks kind of a jumbled mess, but that's exactly what we're looking for. Alright, so what we'll do then on the next lesson is we'll actually get some actual textures on this plan. And then finally actually we're on to our actual self and now, and our actual store, We left the South to last because it's one of the harder ones. We want to poke an indentation, that kind of lever indentation on it. And there's a way actually to do this, a really, really nice, easy way. Alright everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 51. Creating Our Couch Base With Curves: Welcome back everyone to blend the three began to step-by-step guide to isometric rooms. And this is where we left off. Alright, let's come to our actual plant now. Then what we're going to do is we're going to add in a couple of textures and things like that. So if we come to our material, Let's click New. And I think the first one we can use is probably going to be, let's have a look. Atlas one. Let's have a look at Atlas one. I'm just going to pull up actually what is in Atlas one. So if I just pull this over here, we can see on the atlas won, we're going to be using, we've got some dirt in there and we've got all plant leaves in there. So that's the first one. So what we'll do is we'll close that down. I'll come back to it. So we've got dirt and plant leaves. So if I come in, I'm going to grab this one, this one, this one, this one, this one. And I'm also going to grab my plant pot. I want to press H to hide them out the way. And then one way to do now I'm going to just grab everything. You smart UV project click. Okay, and I'm hoping now if I go to UV Editing and let's come over, well, it's already in, no, it's not actually needs to be in the other one. So let's go. We're looking for Atlas one, which is going to be this one here. And now I can do is I can just grab this without proportional editing on and make it a lot smaller. Then one way to do is I'm just going to put these over to here. Like so I've got my dirt, which is this one here. So I can grab this G, bring it over, make it a little bit bigger, like so. And then what I can do, and I can come in, grab all of these press control plots just to make sure you've got them all press G. You can see they've missed out one. So let's see if I can grab it like that. And then we'll do the same thing on here. So I'm just going to grab all of these and then press G and move them into place. Like so now if I press Alt to zoom in, there we go. We might need to make those. What I'm thinking is a little bit darker. I'm not actually sure yet, but what we can certainly do is now bring in our Atlas. Atlas three, sorry. So outlets three, Let's bring that in. So this one is Atlas one, this one's out was three. So let's come on up and put this onto either atlas, which is this one here. And then what we'll do is we'll come in and put our stems on this part here. But let's come in and grab this one. I'm thinking I need to press all teach, bring everything back. And then I'll grab these. Like so. Then I'm going to press Shift H. I'm going to do as well as I'm just going to put this on material because I can't really see what I'm doing at the moment. So I'm just going to click that on and then pull these back. Like so. Now I'm going to do is I'm going to unwrap these. So let's see if I can unwrap them. First of all, on smart UV project, yeah, actually they should unwrap. Okay, and now I'm gonna do is I'm just gonna make them a little bit smaller. And then I'm going to grab them and just kinda put them in place because I'm also you can see they have grabbed that one. I don't mean to do that. So L G hold them in place and then I'm just going to spend just that little bit of time just grabbing these and kind of positioning them in this stem here. So I'm going to press L, L, G. And the other thing is I'm also going to assign this now. So now this should look much better once we've actually brought them all in. So I'm going to press B on this one just to grab them all. G, put them in place. And you can see that's the downside of working with atlases, that you've only got a little bit of room rather than Lakoff floor, where it was relatively easy because we could just use the whole texture map. So it's only the, the only downside to it really now press Tab, now you can see exactly what those look like. Let's have a look at this as well because I'm not so sure why. This is like this Are you can see it's like that. So I'm just going to press you, unwrap a s, bring it down. And now I'm just gonna go over to my other one, buying that one, where is it There it is. And then I'll put them in my soul so S into the soil. And there we go. Now as for the plant pot, I'm actually going to make a new one. So I'm going to call it plant parts. And I'll call it orange. And I think I love the blue or black, maybe will love it actually kind of a blackish color rather than an orange. I think black would maybe go better. So we'll print black. And then what I'll do is I'll just grab my plant pot. I'll click Assign. And then what I'll do is I'll turn the base color down a bit like this. And then we'll maybe let's have a look if we give it some metallic. So let's give it a little bit metallic. And let's then look at the roughness. Maybe think about turning that up a little bit like so. And I think then the rims. I think then the rim. So we had a rim round round here. Maybe I'll pull rim, maybe on here. So I'll just put control law, left-click, right-click. And I think what I'll do now is I'll create a new one and we'll call it plant pot y or something like that. Well, I've looked at him what it looks like and then we can change it from there. So plump. Plot Paltz and white, like so. And then what we'll do is we'll just come in and then hold shift click and just click that on. And again, I'll make it a little bit metallic, like so. And I'll look at the roughness like so. Alright, now let's go over to moulding because we've pretty much got everything in there. What we need to do now is just check it and see what it looks like in rendered view, making sure it looks nice. Rather plants look really nice. I actually think I'm pretty happy with how that looks because it really does go together with this white band around there. We can see the soul in there and things like that. And we could see the light shining off of these stems and things. I'm just wondering whether they're a little bit too green, but actually I think it's a really nice contrast between everything. So I'm really actually happy with how that is. Alright, so the next thing we need to do then is the setae. We're finally onto the seti. We actually actually got something we can actually base it on, which is really nice because that will make it much, much easier for all x1. We actually build this out. Now, let's put it onto object mode. Let's actually take everything away. So we're just going to press Shift H and just take everything away. And now actually I can make a start on my say. So you can see probably will have some arms that are more rounded rather than this square, blocky look. So let's actually make a start on that now. So the first thing I'm gonna do is I'm going to press Shift S because to select it, I'm going to press Shift day. I'm going to bring in a plane. And then what I'm gonna do is I'm gonna get this plane to be the same size as they said. See if I press S and X, just pull it out a little bit, S and Y and bring it down into place like so. And then we're going to do is I'm just going to lift it up just a little bit. I'm going to grab this front edge, then just this front edge here. I'm going to press Delete and I'm going to click edges like so. Now you might not think there's anything left where if you press a, you should have something like this. Now the point here is that this set, say it's all about to get the right look. It's all about making sure that topology is spread over the city really evenly. That's really, really important thing to know. The important thing to know is that this is perhaps one of the hardest models we've built so far. So it's very, very important that you don't give up if yours is not turning out, okay, just go back and restart it and you'll remember all the list of things we did and just try it again. It might take you four or five attempts, but if you keep trying, you will, you will get the knack of it. Alright, saying that, let's come down to our little Vertex select. We're going to grab both of these vertices. And then what I'm going to do, I'm going to press seven to go over the top. I'm going to press Control Shift and B this time and pull them out. And what that will enable you to do is pull them out on the actual versus now, if they're pulling out the way minds just don't press Tab, press Control lay all transforms. Right-click set origin to geometry and then have another gulp. So Control Shift P. And now you'll see it's a much more rounded and the way that we actually want it. So now what we're going to do now we've got this actual curve now basically is what it's going to be, is if I press tab, what I'm going to do is I'm gonna go with two objects. I'm gonna go down to Convert, and I'm actually going to convert it to a curve. Now on the right-hand side, as many times before you can see, we've actually got our curve on that on there. Now it's important on this part to actually keep all resolutions low because we're actually using this to create the arms and things like that for this actual chair. What I'm going to do is I'm going to come down around and put my resolution preview onto four. And then I'm also going to put this resolution onto three. And then what I'm going to do now is pull out the depth of this and we should end up with something like that. Now if I press one, I can actually bring this down then to where I actually want it and I can decide now how sick I actually want these arms of the chair. You can see at the moment the pretty thick and I'm not sure if I want them that thing. So what I'm gonna do is I'm going to bring this down holding the Shift button, just bring it down a little bit. And this is the point where you really want to decide if it's actually the right size for you. So at the moment you can see we're a little bit too much out on that. So if I press S and X, I can actually pull it in a little bit. So I think that actually fits it much, much better than where it did before. Alright everyone, so the time is getting on, fill this actual lesson. So what I'll do is I'll end it here and on the next one then what we can do is we can carry on and actually finish, well not, I don t think we'll finish building this Cao Chao, but we'll certainly get close to actually finishing it. Hopefully I can get all these little leather parts and things like that. I'm just going to save out my work and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 52. Learning More About Topology : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And what I'm gonna do now is I'm just going to pull this up a little bit just so that arm rests on there. And then I'm just going to hide my couch out the way just for 1 s. And then what I'm going to do is I'm going to actually delete it coming from here all the way over to here. So what I'm gonna do is I'm going to click on it. I'm actually going to have to convert this first. So I've got the size of the one. I'm going to come to Object and we're gonna go down to Convert and we're going to convert it to mesh. I'm going to press Control a or transforms right-click sergeants geometry. And now I'm going to do is come in with Face Select, hold, shift and click. So just from this point here. So it's going to bend over there and then round here. So Alt Shift click this way and then one more of the bottom Alt Shift click. And then all you're going to do is press Delete and faces like so, and you should end up with something like that. Now as I said, the most important thing about this is we're going to have to put another edge loop him because we want to keep these edge loops barely far apart. And the reason for those with the leather kind of going in, if you've got them too close together, it just simply ain't gonna look. Ryan isn't going to work, so I'm just going to press Control Alt, left-click, right-click, put one right in the center, and then controller left-click, right-click, pull them around the center, and then I'm going to delete these. So click, oh, Shift-click, Shift-click. If you can't hold Shift click, just change your angle and then you should be able to help shift clicked and then delete. And we're just going to dissolve edges. And he showed that note with something like that, then you can right-click and shade smooth and have a look at what that's going to look like. Of course, we're also going to be using a subdivision on here. So don't worry too much about perfection, right this moment. Now the next part we're going to look at is the actual seat. So if I press Alt H to bring back my couch, and then what I can do now is I can come into this, so Portland building, I can grab this bottom part now. And what I'm gonna do is I'm going to bring it down to this point here. So if I grab this Alt Shift click, then I'm going to press E and extrude it down. So if I come to the front, can't really see where that's going to be. So I'm just going to press Add wireframe. And now I can see it comes down to here. So if I press E, just extrude it down to where you want it. You can see at the moment mine's kinda flopping around all over the place. Don't really want that. So I'm just going to press that, just align it up and then bring it down to their life. So now press said Go back in solid and you should end up with something that looks like this. Now the next thing is we obviously need to make this an actual seats. So all I'm gonna do is I'm going to just hide my couch out the way again. I'm going to come in, then I'm going to actually join all of this together. So if I grab this one and this one, I can press F and then this one and this one f to fill it in. And finally this one and this one, I can press F and fill those in and you should end up with something like that, which is looking pretty nice at the moment. Now at this stage, it's up to you whether you want to bring your couch up a little bit. I think we will actually look at that in a minute once we bring in some more edge loops. So again, don't worry too much about the shape at this stage. The other thing is because we've actually joined this now we've got a point here and we need it kind of going across here to separate these two points out. So I'm going to do is I'm going to come into this part here. I'm going to grab these three phases and then going to press Shift H, hide everything else out of the way. Press seven, scroll over the top. And then I'm going to do is I'm going to press K on this part here, like so. So you just going to click on this point here. And then if you press a, you will see that if I press a, I can actually have it go in really straight down to here, so I can pull it down to here. Click on this edge here, press the Enter button and you'll end up with a nice, beautiful straight line down there. Now if I come to this one and I do the same thing, so I'll grab it. So I click on it, I press a and then they'll make a nice straight line going all the way down and just press Enter like that. So basically what you're looking for then is to fill these bits in. Because again, we have to be really careful about where we're actually having no lumps and bumps within the actual couch. Now let's press Alt H to bring everything back. A more wanna do now is bring in some edge loops and we have to think when we bring it into the edge loops, each one of these points near enough is going to be where the actual these kind of indentations within the liver is actually going to be. So if I press Control R and I bring in, let's say 45 edge loop, something like that. Maybe left-click, right-click. And now each one of these points here is gonna be an indentation. So that's what we need to take into account. The other thing is as well now, this is the point where you really want to shape this. I'm couch into the way that you want it. So I'm just going to come in and I think I'll just grab this one and this one, I'm going to press one on my number pad. And then we're going to do is just put proportional editing on and bring these up. I'm going to actually bring this in a little bit like so just to keep that nice straight line down there. And then what I'm going to do is I'm going to come into the middle now. I'm going to press one and I'm going to bring this one up as well. Like so. Now remember again, that we're going to be subdividing this. So you probably don't have to worry so much about these really hard edges. I'm just trying to shape this into some really nice way that I would like it. So something like that I think looks looks really nice. I think I'm happy with it looking like that. Now we have to also think about, okay, we need some more edge loops because at the moment, we haven't gotten the edge loops in this part going across or anything like that. What you wanna do now is you want to put some edge loops going across here and they want to match up these blocks here. So if I press Control are going this way, 12, maybe three km, which should we put three on? So left-click, right-click, drop them into the center. And you can see that these are probably around the same size as those. And we can see we've got a nice even flow, pretty much going all the way round. We haven't got to two edge loops kind of stuck too close together, except these ones here, which we're not actually going to worry about anyway. I think at this point we've got a nice even flow of topology. We've got the flow that we actually want with our couch where it's going slightly up here. So the next thing to do now is to bring in a solidify. So I'm going to press Control a or transforms right-click origins geometry, and then come over to your modifiers panel and just bring in a solidify. What I wanna do now is bring this. Yeah. So basically bringing it down like this because this then is going to determine like how they actual couch, the wooden parts that go on here, how they actually are shapes. And then I'm going to do is I'm just going to put even thickness on making sure then I've got chunky a bit and it's nice and even, and not bending all over the place and things like that. Alright, so now let's actually apply that so I can hover over here, press Control a, and yours should look something like this. So now what we need to do is you need to pull this couch down, of course. So if I press Alt H and bring my couch back, grab my actual couch here, and then while wants to do now I'm just going to move these two out of the way because the kind of gain in the way, I'm also going to move, I think I'll just hide Muslim for now. So just move that out of the way there and then I'll grab my actual cows I'm trying to build now. And then what I'm going to do, and I'm just looking at the size and scale. I think at this stage I'm going to pull it out just a little bit more. So I'm just going to press S and X are very, very slightly, something like that. And then what I'm going to do now is I need to grab the bottom of this. So if I come in, make sure I'm on my actual vertice leg, presses that bond go into wire-frame. What I wanna do is grab all of these vertices down at the bottom. So if I press B for box select, grab all these and then pull them down. Not these are you can see I've got those there, so just grab one of them, Press be grabbed them all. And then we should, without proportionately to non, be able to pull these down to the bottom of where we actually need it. Alright, so now it's really turning into a couch and that's exactly what I want. So I'm just gonna go in now. I'm going to hide this out of the way again, like so, and that it should be what you've actually left with, which actually looks pretty nice at the moment. Now the other thing is you can see this is indented a little bit, so I'm actually going to go in and just fix that a little bit by grabbing probably both of these. I'm going to pull them out very slightly holding the Shift bone down just to make them a little bit more even. I'm also gonna do the same on here. So think I'll grab both of these. I want to pull them out a little bit, holding the Shift button again, like so. I'm just now trying to even more. So I'm gonna grab both of these now, hold them out just a little bit. Just so you can see that nice shape form. And there we go. Now you can see it's a much more even shape. Now I'm gonna do the same thing on here as well. So I'm gonna grab probably 123. Let's see if we can do it with that. Hold them out just a little bit. And there we go. Now it's all nice and even, and that is exactly what you're looking for. A nice even topology going all the way round. Finally, now you want to put a supporting edge loop going round. So if I come in and press control law, I should be able to left-click and then bring it down to here, which means it will be a supporting edge loops running. In other words, this is where we'll end on. We can use this then as well to create our ward a little bit later on. Finally, for this lesson, I'm going to go to Face Select and I'm going to do is I'm going to press Alt, Shift and click, and that should grab them going all the way around here. I'm going to press H to hide those out of the way. And then when it Command L on this part in the inside, press H to hide those out of the way. And the only reason we're doing that really is to make sure that the ones that we grabbed that way actually wants to turn into those kind of leather indentations. It's just going to make it a little bit easier with less mesh in the way. All right, everyone, so I'm going to save out my work and I'll see you on the next one. I hope you've got this far. I hope yours looks like mine and I'll see you in the next one. Thanks everyone. Bye bye. 53. Creating Leather With Blender Sculpt : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left it off. Okay, so now we want to do, is you want to grab it going all the way around here. So this will be the actual final day, which is the what I mean is this will be the furthest, it won't come out. So it's basically the flat end of the actual counts. So now if I grab this one and this one, it should follow it all the way up to the back, like so. Now the other thing is we need to grab them, come in all the way down, coming all the way around here, and then leaving a gap on this bit, on the inner bit in the inside of here. I'm wondering whether I probably going to leave these two here. So if I come in, press the C, I'm going to grab them all going down there. Like so, something like that. Then what I'm going to do is I'm going to grab them, going all the way around near. So if I press C, I'm going to come all the way around here, like so. Then around here, grab them all, and then do the same thing, going all the way around there. And you'll understand why I'm doing this momentarily. Now we've done that. Let's actually go to vertex select, like so. And then we're gonna go to Select, and we're gonna go to checker, de-select. So select this on, and it will end up like that. And you'll have no idea why it's like that. And the reason we're doing this actually is because we want to connect each one of these points together and form a edge going between each one. So now if I right-click and I come down and click connect vertex pairs like so, you should end up with something like that. Now, why we've actually spent so much time doing this is because we needed to make sure that the indentations which are going to be forming here and not too close together. You can see how these ones are quite close together. We don't actually want the Miami occasions where when the inside of here for instance, we don't actually want to kind of bring in and make that level look on these inside. So we need to actually unselect those. So the ones we want to de-select are going to be the inner one. So if I press C command and press middle mouse on these ones going down the middle, like so we don't actually want those all the way around here. So I'm gonna do the same thing going on here, here and here. And the other ones, we don't need all these ones on the outer edge. We really don't need one of those ones either. So I'm gonna select, de-select all of these and the ones on the arm's length. So when you've finished, you pretty much should end up with something like this. And now all of these abates, they're going to be the ones that we can actually use to create our leather. I'm just looking at a novel around making sure mine's okay. Making sure not to have these legs are the ones that I don't want. Again, we don't want any in the inner part of the actual couch. So now what you want to do, you actually want to bevel your vertices. So to do that, we're going to come up to vertex and you're going to have one that says Bevel vertex. When you click on that, it's going to bring in a kind of a band like this that goes out. Now, the moment you can see it looks like a star shape. Just actually scroll your mouse wheel all the way down. And then what you'll be able to bring in is something like this. So I'm going to make mine a thing this sort of size. Now at this stage, what I would do is save out your work. And the reason I'm going to say save all your work right now because I wouldn't resave it after this because this will then give you an idea of how it's going to log once we've actually use the a clock generator on this. So in other words, these are gonna be the little points that go in and from there you're going to end up with those kinda little buttons that also come out. Now we've got all these. All we wanna do is we want to actually insert them. Now, the thing is, I don't think I'm going to keep these ones in the back. You can see the cause and a little bit of issues because they're a bit too squished. So what I'm gonna do is I'm going to come in and press C and just minus those ones off, like so then, then that will leave me with the rest of them. I'm thinking about these two here as well. I think I'll also a minus these off as well. So see middle mouse, the middle mouse like so you should end up with something like that. Now what you're gonna do is you're going to press I for insert and you're going to bring it in like so. So you should end up with something like this. Now finally, we can press tab, we can press Control a or transforms right-click. So origins geometry. And now let's bring in a subdivision modifier, like so. And let's turn it up to something like three. And that's land press Control a, and apply that. Finally, now we can come over and bring those in. So what we can do is we can come over to sculpt mode. We can go down to the one which is, if you scroll down here on the left-hand side, you'll see one that says cloth filter. That is the one that you want to click on. And then you want to open up this panel over here. Now if this not open, just press the Enter button to open it, click on Tools and then you'll have this cloth belt to open up. Now we want to put this on inflate and we also want to make sure use, they said is actually on. Now, you might need to play around with this a little bit as we're actually moving through. But the next thing you wanna do then is come to face sets and click, they said from edit mode selection. And basically it's going to select the faces which we'd already had selected from before. Now what we can do is we can actually grow these or make them smaller. So if I hover over one and press Control W, you'll see actually starts to grow. Now it can do is we can hold the left mouse button and drag it in. And we can actually start creating those indentations in our actual lever. And that's looking pretty nice already. Now I tend to do is I will tend to put this onto nought 0.5. I'll make these smaller by pressing Control Alt and W, just to make them smaller. Then what I'll do is I'll hold my left mouse bond, but this time drag it to the right and bring them out. Like so maybe it brought them out a little bit to false. So controls it. Bring them out. Like so it only needs to be very fine that now if we come over and out back to object mode, you'll see that we've got a really beautiful that T or couch. So to reiterate, what I did was I went and I actually inserted, we added then a subdivision surface. We then went over to sculpt mode. We made sure we were actually on our cloth filter, which is this one here. We then open the panel up on the tools and we made sure it's on inflate. And we also made sure that use faith sets was actually on. Then what we did is we came over to face set. They set from edit mode and basically left, clicked on the mouth, pulled them left to bring them in. So you've got this nice kind of crease there. And then we set the strength down to nought 0.5 and did the same thing again. So we press Control Alt and W to make them smaller. And then we right-click and pulled them out and that's what we did. Alright, so finally now it's gone to object mode. And then what I'm going to do is I'm just going to shade smooth, make sure everything's smoothed off. And then I just need to, It's up to you really, if you want to actually put some wooden paneling or something like that in there. And it's also up to you if you want to kind of bring this out for me, I think I'm actually going to bring this out, but we'll do that on the next bone. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 54. Adding Leather Material To The Couch : Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so now I want to do is I just want to bring this part out. If I come in, I can press Alt H Now bring everything back. And this part here is the part that I think I want to bring it out and make it a lot more straight. So we've got a number of ways we can actually do this. We can probably caught this away, this bottom part and then work from there. So I'm gonna do is I'm going to come in, press a, I'm going to come and click on Mesh. I want to come to where is it bisects? There it is. And I'm going to cut this part away from, let's say from here. So coats it away straight across there. You're going to set this to zero like we've done every time before, except this time, we're going to actually clear the inner or it could be the hour for you, then you'll end up with something like this where we've still got it gripped all the way around there. We've already got selected. Now what we can do is we can actually pull this down. So you can see that we can actually pull this down to that. Now if I press Tab, press Alt H, bring back my couch, it actually deletes it. Maybe I did. So let's actually look where it needs to come down to. What I'm gonna do is I'm just going to press Control a all transforms right-click Set origins, geometry. And then you can see why is my, yeah, because I grabbed the song as well. So I'm just going to grab that set origins geometry, and then I'm just going to drag it over to where it needs to be. I'm going to press the adult bone just to zoom down and I can see I'm quite a long way off. So what I'm gonna do then is just pull it down to the floor where I want it to go, so something like that. And then it needs to fill this in now. So if I press Shift H, I can actually come down round to the bottom part now. And there are a number of ways that can actually fill this in. I think for me the way I'm going to do is first of all, I'm going to press F just to fill it in like that. And then when it comes to edge select, what I'm gonna do then is just bevel off this little bit, just very slightly turning one to maybe to something like that. And then you'll end up with a nice bomb on it that's actually fits in much, much better. Now on the reference, it is a little bit different of a couch by think I'm actually happier with this character being like this on the reference actually have some wooden panels coming out, but these wouldn't actually come down to here and then it's got some actual legs on here. I actually think though, that this actually, this couch I've created here suits they actual room much, much nicer than the other one. Alright, so now the last thing to do is we need to actually bring in some materials. So what I'm gonna do is I'm gonna go to material mode. I'm going to grab my couch, press a to grab everything. You and smart UV project click. Okay, now let's see if that's actually going to look okay, so what I'm gonna do is first of all, where is the leather bass? Lets see where the liver is. So if we go to textures, you'll see one that we've actually got though each sets Seamless couch leather. And we can see at the moment if we double-click that, it's a really nice green color. Alright, so let's actually bring name. We've not used that before, so we'll have to create a new material and we'll call it leather, like so. And then one going to do, I'm going to come to my shading panel. I'm going to zoom out, click on my principled control shift and T, I'm gonna go to textures. And the one I'm looking for is of course this lever. I'm going to bring all three of these in, like we've done many times before. Let's put this onto a material. There we go. Now we can see straight away, this is not around very well, so we need to actually fix that. So let's go in and fix that first. So we'll come over to UV editor. We can see at the pulmonary kinda looks like this, which isn't really very nice girls. And the problem is that it's actually split it open and lots of parts. But luckily for us, because it's actually a seamless texture, it means we can grab everything and pull it all out. And then we get much, much nicer lever effect like so. Now we've got a few problems at the moment where it looks where you can see the joints and things like that. First of all though, let's put this onto the rendered view so we can see what we're looking at. Let's double-tap the eye. And let's have a look at what that looks like. You can see as well that I think it's going to have to be a lot more green than where it is here. Now, I'm going to think, unwrap this a little bit better than that. So I'm gonna do is I'm going to come back to modelling. I'm going to grab my couch, press Shift H like so. And I'm going to actually mark some seams on here. Now, it's quite difficult marking seams around near actually. So I'm going to press Alt Shift and click and just work my way around. And actually that's, that might have been okay because it's took it all the way round to there, which is really, really handy. And then Alt Shift click, right-click, cosine. And now I want to mark a scene probably on the inside of here. So if I click Alt Shift click, I'm going to take it all the way round to there. But the main points, I'm looking at these points in here. So what I'm gonna do then come in with my middle mouse and just minus those off, making sure that's still going up to there like so. And then what I'm going to do is I'm going to come to this one. I'm going to press C and middle mouse and minus those are. And then what I'm going to do now is I'm going to actually get rid of all of these. So I'm going to actually come in now. We get a little bit bigger middle mouse and you can see we've got problem in that. Sometimes this happens where you can actually grab all of these going around. So I'm just going to press C middle mouse. So I'm just looking at where it's only coming down to here. So that's the one good thing for old soap operas. See middle mouse. And then just get rid of these. The middle mouse, get rid of these. And now I'm gonna do is I'm just gonna go over the top. I'm going to press zed, go into wire-frame, and now I can pretty much come in and get rid of the ones that aren't one. So C middle mouse over here. And then let's press Z to go back in solid, so solid. Alright, there we go. Got to align that. Alright, so then it's Command and moccasin, and we should end up with something like this. And so we've got a seam running all the way around that basically, let's see now if that's actually going to unwrap. So you unwrap, let it think about it because it's, it's quite a complex piece to be honest. And now let's go to our UV Editing. Let's press tab. And there we go. I think that's looking much, much better than where it was before March. Much better now, I'm just looking at these little bumps and things like that. Yes, That's very nice. Okay. I'm happy with that and you can see the shine and everything like that is looking really nice. Finally, then let's come to where the shading panel, Let's put it onto our actual render view, and let's think about our colors. So what I'm gonna do is I'm just going to move these over shift day. Let's search RGB and we're looking for RGB curves, drop this in, and then all I'm gonna do is turn it a much darker color. I'm also thinking if I press dots, zoom in a little bit about the actual normal on this one you can see it's leather, it needs pulling out a little bit more. I'm also thinking about the roughness. So what I'm gonna do is I'm going to grab this, I'm going to press shift D, drop it in my roughness. And then I'm just going to play around with the roughness like so. I don't want it quite as what it was, So we want a little bit of shine, but not too much. The other thing is let's have a look at our normal. So we've got normal map here. You'll see if you buying this all the way up. It really accentuates all of those, those things. Those, and if we bring it all the way down, you can see it completely gets rid of them. Like I'm saying, I think this was set too high probably. Yeah. I think actually that looks bad like that. And I think the only thing now left to do is just bring it out a little bit more on this map. So press S to bring it out a little bit more. I'm just going to zoom in. Yes. And that's exactly what I'm looking for now. That looks like love it. Alright, so that's that. Now let's go back to my limb. Bring him to the mark, so I'll teach, bring everything back. And the only thing that I'm worried about on these is these parts here. So I'll think I need to shade this up a little bit small, smooth as well. So I'm just going to come over there, not my smoothness a little bit like so. There we go. That looks tons bear. And then that's pretty I'm rendered view. Yes. And I think now that's looking really, really nice. Alright, so I'm happy with how that looks. I'm just wondering whether I should bring these parts in as well. They might be duck cow a little bit too much. Let's just have a quick look at those while we're here. There's a lot of natural light. I should have bring them back in a little bit. I could pull them back just by grabbing one from here. One from here. Let's just give it a try and see what happens if we pull that back. So I'm just going to pull that by kin. So well this back-in, so like so, and I'm also going to do the same now on this side. Grab this. Well, it back in. Yeah, nothing that actually looks bad like that. Alright, Now, that's pretty much the set A1. So let's have one last look at this for carrying on. Okay, so I'm happy with that. So finally then all need to do now is the actual store, so everything else, and this is pretty much done. Once we've done the store, we can actually get on with bringing now Cameron. And then from there it's a matter of actually setting out our lighting or everyone. So I hope you enjoyed that. It was a difficult one to get that one actually that couch in and I'll see you on the next one. Thanks a lot. Bye bye. 55. Creating The Final Model : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so the last thing now we need to do is actually our stall. So what we're gonna do is just create a simple store, maybe not as ornate of some of the other parts. But we're going to make it rounded, I think something like that. So let's come in and what we'll do is we'll grab this tool here will press Shift S because to Selected Shift a. And what we'll do is we'll bring in, I think will bring in a cylinder to start with. Let's put the cylinder on something like 24, just to bring those polygon counts down a little bit, let's make it smaller them. And then what I'm going to do is just pull it out. So if I go over the top, I'm just going to press S and X, just pull it out a little bit like so. And then what I'm going to do is make it a little bit smaller. So S and Z, like so I'm just going to make it round about that sort of size. And from there I think I think I can work with that. I'm just looking now at my guy. How big is going to be when he puts his bomb on there? Yeah, nothing that should be about right now I want to do is I want to create the actual leather from here as well. Some chills going to pull this out a little bit. Now, I'm going to right-click and shade Altos move just so I have a good view of what I'm actually looking at. And then from there, what I'm going to actually do is I'm going to Alt, Shift and click just grab this ring going around here. I'm going to press Shift, they bring it up, and then I'm going to get rid of the census. So if I grab the center, I'll delete and I'm the only one to delete only phases. So it should leave this ring around here, back to edge select, grab it again, then just, I'm just going to separate it now. So P selection separate off. And then let's press tab, grab it again, control ALL transforms. Right-click set origin to geometry. And then I'm just going to convert this now into an actual curve. I'm also going to put my cursor right in the middle of here as well. So shipped as cursor selected like so. Now I'm gonna do is I'm going to actually turn this into a curve as I said. So Object Convert and curve like so. And the reason I want to convert this to occur is just so I can use this then to actually send some like little beads going all the way around. So now I'm gonna do is I'm going to press Shift a. I'm going to bring in a UV sphere. And you can see we've got too many polygons on here. So I'm gonna do is I'm going to turn these segments down something like 12. And then one Wednesdays I'm going to turn this down. So this one here, which is the actual rings. So this is the rings going around here. And we'll put them on something like ten, I think something like that. Then what I'll do is I'll just get rid of the second half because they only need one half. So if I come around here, Alt Shift and click delete bases, grabbed the bottom, then delete vertices like so. Now I'll do is I'll grab this part here. I'll press S to shrink it down. And then I'm just going to now lining up to where I want it. So if I bring it around to here and bring it down and then all want to do is I want to bring it down and rotate it around. You can see that those metal beads that hold deliver into place. So I'm just gonna put it at the start of my curve. We're probably going to have to move it a little bit. Then what I'm going to do is rotate it now. So our x 90, rotate it around, bring it in. And I think they'll need to be made little bit smaller. So something like this. Now I want to rotate these going all the way around here. So right-click, Shade, auto smooth, and then control a. I might actually be able to get it from here. So we'll give it a try for, so I'll come to my little bead and what I'll do is I'll add in and modify. It's going to be an array. Now I want to do is I want to put this onto fit length. And then what I'm going to do is I'm going to bring in another modify now. So I'd modify will bring in a curve. And the curve then will be the actual, this curve going round here. Now, we'll put it out over there the moment then I bring this up. As you can see, now we end up with more of these. Now the thing is you can see that they start to stretch as they go round. And the reason for that is is because we need to bring them in so fine then pull this over here. I can actually start to bring them in and actually follow that curve much more nicely. The moral bring it out. The more actually I dont, you can hold the Shift button as well just to get it lined up. Well, the other thing is I need to make sure they've gotten much, much bigger gap than what these have got. So I'm going to do is I'm going to come to my factor. I'm going to hold it and I'm going to suppress the Shift button and hold it round. You will, so I can split those up like so. And now you can see that's looking a lot more realistic. Alright, so now what we can do is we can actually apply this and put this in the bottom from there. Then we can actually make the leather kind of come out over the top. I'm gonna do is I'm gonna go to object and when it go to convert and to mesh, and then I'll grab this ring, are not going to need it anymore. But now I can do is I can just bring these now into place. As you can see, there you go. Simple as that. Now what we need to do is you need to bring this out. So we've got these in there, needs to be relatively tight in there. So if I come now to this part here, press Control Law, go just above the top like so. And then what I can do now is come with my face, select, grab this top face. So face select three or grab it like so. And then you can just bring it out. Then we're going to do is I'm going to bring you up with E and then bring it up again. With E and then press S and we just want to bring it in. Now from here, we can actually make this now look much, much come via. Obviously. We'll actually do that now. So I'll do is I'll come in and I'll come right the way up to here. And then what I'm going to do now is press Control B and bevel it off. Now you can see the bevel is not working correctly there. So I'm just going to press Control a all transforms right-click set origin to geometry. And now what I'm gonna do is shade also smooth. And then now command press Control B. And now you'll see that bevels off much, much better than where it was before. Now you can see that we also need to bevel off this one as well. So I'm going to come in with edge like grab this edge, hold shift and click. One way to do is press Control B. And I'm going to probably use as many. So I'll just turn this down like so and then bring it back in holding the Shift born like so. And there we go. Now, I'm still not sure if I'm happy with how that looks on the inside of here. So what I'm gonna do is Alt Shift, click, press Control B and bevel it off the other way, like so. And then finally, Alt Shift click on this one, press Control B, and I'm actually going to scroll it up maybe to something like that. Alright, Now the one I'm not happy with is this one here. So to fix that, all I need to do is just get rid of one of these edge loops. So Alt, Shift and click, press Delete. Then you just gonna dissolve edges like so. And now you'll see that it's nice and rounded off for you. Alright, I'm pretty happy with how that looks. Now the next bit you want to work on is the actual wooden piece because we've got this PC, but we need just a wooden piece coming underneath it. So what I'll do is I'll come under this part here. So Face Select and then pull it down like so. And then what I'll do is I'll press Alt Shift and click E, and then alternates like so and just pop that out just a little bit to make that wooden part going on there. And then what I'll do is I'll just set even offset even on. And we should end up with something like this. Now finally, what we need to do is we need to think about bringing in the wooden legs that are going to come onto here. But we actually want to bring this in because it wouldn't actually sit like this. So what I mean is you would bring this in. So I bring it in and then bring it up like so. Now you can see it looks much, much more realistic. Alright, so now let's think about our legs. Now for something that's shape, probably not going to be square legs, it's probably going to be rounded legs, so we just need to think about that. The other thing is I'd like to make this a little bit more ornate. This part here going round. So I'm going to do is I'm just going to press Alt, shifting plate-like. So I'm going to press the I button. I'm going to press the I button again and just bring it in. Like so. And then one wins do is I'm just going to press S and Z and pull those out a little bit. Like so. Alright, then I'm going to press E and two alternatives. And now I can just bring these in. I'm just wondering whether these are a little bit too chunky, maybe they should have been a bit smaller. I'm just going to go back. I wanted to bring them in a little bit more the moment the two widest fail. So what I'm gonna do is I'm going to put this on normal, put this onto individual origins, press S and y. And I should be able to then bring them in like so, and then S and X and pull them out like so. And there we go. I'm happy with how they look now. Now finally, let's put this back on global, this one back on medium point E and Alt and S. Then let's bring them in. Like so maybe they've come a little bit too far. They haven't just press Alt and asking can pull them out a little bit more. Yeah, that looks much, much nicer, much better than where it did before. Alright, so what we'll do in the next lesson then is we'll get these legs in, we'll get the material on. And then hopefully, hopefully we should be finished with all of the modelling in here. And then we can move on to our lighting and composition and rendering and all that great stuff. All right everyone, So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 56. Putting It All Together : Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. And this is where we left off. Alright, so now let's bring in all legs. So what I'll do is I'll press Shift a and I'm actually probably going to bring in, I'm thinking I'm bringing a cube again, even though it seems a bit weird because it should be rounded, I'm going to bring in a cube and then one went to do is just move it into some sort of place or something like here. I think if I put this in here and Eric and I can already actually rotate this and then bring it down and construct it from there. So if I go over the top now and I just rotate this round, so I'll rotate it round. And I just want this top bit coming up to there, something like that. I'm happy with the size of that. I just need to bring it in. It's a bit too much in on this spot. So I'll do is I'll come into face select what this on normal and then I can just pull it back this way, like so. And then what I'll do is I'll bring this now down a little bit. So I'm just going to pull it down to something like that. And now I'm going to do is round this off a little bit. So if I grab the front two parts first, press tablets, reset all the transforms. So right-click the origins geometry, tap again, press Control B. And I'm just going to bevel that off up to that point like so. And then now I'm going to come to the inside and I'm gonna do the same thing on here. So Control B, I'm going to bevel it off, and I'm going to pull probably one more. So left-click, right-click, and you should have something that looks like this and I think that suits it. Pretty nice. Alright, so now what I wanna do is I want to bring this down now. So what I'm gonna do is I'm going to come to the bottom of here. I want to press so once I can see how far it comes down and then one wins do is I'm going to press I, press I and then pull it down, pull it down like so. And then what I'm going to do is now I'm going to press E and pull it all the way down to the floor. So if I press E should come down to the floor. Like so. Yeah, nothing that looks pretty nice. I think I think with beveled that often enough and it's got enough of around a point on it to look pretty nice. What I'm looking for, the one thing I'm wondering is if I should bring this out and have it going down just to the bottom, maybe that's the case. So what do I mean by that? If I bring this up now and press one, and then we're going to do is press E and S, bring it out, and then press E and bring it down to the floor. Now from here, the flow will be here. Maybe that will look a little bit like. So now I might want to bring this up as well. So if I come into Edge Select, then Alt Shift and click might want to jaws pull it up, right-click, Shade, auto smooth. Yeah, I thinking, I'm thinking that's looking pretty good. Now the one thing is that you can see that it's kind of smoothed off everything. Probably don't want that. So I'm just printing press, Alt Shift, click, Alt Shift, click, Alt Shift, click, Alt Shift, click, and then right-click. And what we'll do is we'll just mark a sharp on there. Yeah, I think that looks so much better like this. And then also we want some indentations for our ward. So what I'm gonna do is I'm going to, I think probably grabbed the center of here. Can I actually put in an edge a little bit good if I'm pointing edge loop straight down here. So control law, left-click, right-click because we only wanna do it on the outside. And then what I'm going to do is I'm going to grab both of these on a press. I then personally I a second time if you need to have two of them. And from there now I can extract the max. If I press E, I can pull them back a little bit. And you can see now it's kind of going with how this looks as well. And then what I'll do on the bottom one, I'll just do one insert. So if I press, I press I again, I can just insert that. Then maybe can pull this out instead. So just pull it out very slightly. Like so. I'm thinking, Yeah, that looks, that looks really nice. Alright, let's press Control a or transforms and then right-click and we'll set the origin to 3D cursor. And then what we'll do is we'll bring in a mirror. So bringing in a mirror and it's gone over that side, just needs to go over the other side as well, like so. And then just press Control a, and there we go. Now we call it. Before we actually do that, I'm just going to press Control zed. I'm thinking probably better off just unwrapping this and making sure it's on route first. But I'm gonna do is I'm going to press a, I want to unwrap. So you smart UV project click okay, and we want this data to be the wards. So if we put this on material, let's look at what we've already got any here. So we've got this kind of wood here. We did have some red wood, I think somewhere and I think that's the one. So instead of that, what we'll do is we'll actually go to our textures and we'll have a look which would we want to probably use. They can see from here we've got a dark cultured would here. Now this is mahogany. And at the moment you can see that we've got black. If I just move this out, so let me just put this down. You can see that we've got black. So when we've used this for the violin, so maybe instead of that, we should just use the word from the violin for this actual stall. I think that's what we're probably going to do and I think it's making use of this anyway. Well, I'm going to do is I'm just going to come to my violin. And you can see here under the materials we've got Atlas three. So this is which one is actually using. They'll come back now to my stall. And what I'll do is I'll click on this and Atlas three. And then one we're going to do now is I'll just come into my UV map. So I'm going to press tab, go to my UV map, breasts adult button to zoom to my part. And then let's come over here and put it on Atlas. One, I think it isn't scroll up, not their goal down. Here we are this one here. I think it's this one here. So I'm going to do is press a and then G and just bring it in. And I'm thinking that's, doesn't seem to me, that doesn't seem to be the right one. So I'm going to do is I'm going to come now and change this to the other atlas. So let's see if it's this one and it doesn't look, I don't think it's that one either. So if I click this down, Let's put it on Atlas one. Yeah, there we go. That's the one I want. So this is the actual one-to-one. If I press Tab now, we can see that's looking really nice, albeit the woods looking at a little bit small, what we need it for. So if I press tab, I'll come back now and put this on the right atlas. So this one here. And then what I'm going to do is I'm going to press S to bring these out much, much bigger. Press G just to make sure that that in place. And then what I'm going to do now is grab each, each one that isn't in. So you can see this one here and press G and X and that, then we'll tie it to the x-axis. I can move it along. And then one wants to do is I'm going to press B, grab all these G and just put them into place like so, I think that looks much better now. I'm just looking at which way the world looks to be going and it seems to all be going up the right way. It's got some nice shine on it. And that's exactly what I'm expecting. Alright, so now what we can do is we can come to this part here and we can actually apply this mirror as well. So I can come in now press Control a, and now it's going to be the same for all of them, of course. Now let's come into this part. So we've got leather as well, so we'll do our Leviathan. So I'll come to this part here. You can see it's unwrapped like this. I'm going to press U, I'm going to press. I'm wondering if I can get away with smart UV project. I'm going to try it. And then we're going to do is I'm going to come to my material down arrow. I'm going to look for leather. So L a DHEA, and there we go, That's our leather. And I'm thinking that this looks you can see that it's probably not really looking like a leather because we need to grab it and just pull it out really, really far. And now it looks a lot more light leverage. You can see now that level is going to come all the way down here. Now you can see we have some issues with how this has actually been put together. So if I shade auto smooth, you can see we still have some issues there. And it's because this is not unwrapped correctly. What I'm gonna do is not be lazy and actually just put this on material. Then you can see this is where my seams are and it's actually causing us issues. But I'm gonna do instead is I'm going to mark some seem so I'm going to grab the bottom of it. So Alt, Shift and click, right-click and Maxine, and then I'll come to the top of it. Then you were just going to click, you unwrap like so. And then I'll pull this out now. So S, pull it all the way out. Like so. Now let's take a look at what that looks like. A now you can see it's looking much, much better. I can't really see it on that because we've got too much shine on there. But you can see now that's how it's looking. Much, much nicer. Now I'm not sure at the moment if I need to come in and turn up the this on here. So turn this up, let's say to 40. Let's see we go anymore. I will just have to be careful when actually render this out that I've not got all these lumps and things because I might have to go in and use a subdivision surface on this part. That's the only thing that I'm a little bit concerned about. So what I'll do though before actually doing that is I'll come now to the other parts. So this still needs to be levered down here, as you can see, this part here, or shifting click, right-click. Moccasin, go around the back when no one's really going to see it. And then we'll put another seem in here. So right-click and Maxine. And then what we'll do is we'll press L from here, going all the way round pressure, you unwrap. It doesn't really matter. They bend like that on this particular case. So when to press S, pull it out, and there we go. Alright, so now let's think about this wooden part. So this wooden part now, and it should be absolutely fine to separate off from the rest of it. So if I press L, I can press P selection, separate that off. And now I can do is I can come back to this. And why I want to do is I want to put it on the same one as this one. So I have a comment to material. You can see it's Atlas one. Let's go back to this now click the down arrow and we're going to put this on Atlas one, like so. And then now if unwrapped, let's press a so have a look at this. Unwrap properly. I don't think I don t think that some wrap properly, but while there is, I'll press U UV project click Okay, on rapid again. And I'm just going to try and fit it in there now I'm I'm absolutely near enough. Sun is not going to fit in there properly. As you can see, it's not looking it's not looking very good at all. And the reason for that is of course, because each one of these probably needs to be its own wooden piece. So what I'll do now is I'll come in and mark them seem so Alt Shift and click. You can see that we do have an issue because basically it's triangulated. You can see this triangle on here. Well, it's actually coming from this point here. So you can't actually do that. So instead or you need to do is press Control, click, Control click. Let's put it on material, make it a little bit easier to move around. And I'm just moving basically all around. Back to the start now, like so. And all the way back to here, right-click Maxime. I'm also then going to hide the legs out of the way because I don't need to see those. And then what I'll do is I'll come in and knock some more seems again, we need to come in and mark a seam going all the way on the bottom. I think I'll also put this on object mode just so you can see it a little bit more. I'm also just checking if cavities on which it's not. I always like to put cavity and just do the while I'm actually doing properly. So I'm going all the way round, right-click Maxime, and then Alt Shift, click, Alt Shift, right-click moccasin. Alright, so now we just need to make sure that we've got no infinite loop. So I'm just going to put a seam in here. So right-click mock scene. And if we come around, I'm just going to look where the back is. The fact is round here. So if we come around here, we can also put 11 seam. I'm thinking that probably better off breaking up all of these. We're just going to have to go in and actually select them all on their own. Sometimes that works. Sometimes you get away with it. Sometimes you don't. So I'm just gonna go in and select these like so. Now let's press Control plus on the number pad. And then what we'll do is we'll press Control E because they're in face select amount the same. Now we can just hide those out of the way. Now, we'll do is we'll actually, on the next lesson, we'll mark each one of these seems now going down here, and then we can split that one off from each other. Alright everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 57. Working With Blender Sky Texture: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms. So now let's come in and actually mark seam on each of these, like so going all the way round. So then we can split this up and actually think it will look much, much better like this. And I think also once I've marked the seams on here, what I'll do is I'll actually hide the top. Then. I'll just basically have all these to work with. Hide the ball, mount the inside and inside. Hide them out of the way. Now we should add, nope, we've just there. So now if I press you, unwrap, then press S and let's bring them in now into place. I'm looking, I can probably get two in here as you can see. I've got six in here, so maybe then I'm coming now, and then G and Y. And then let's move these as well. So I'm just going to press G on these, bring them into place like so, and then the same on this one. So G, E. So, alright, let's move these ones place then. So there we go. Now let's put this on material and have a look what they looked like. And there you go. Now you can see that that looks just Tom's bad. Okay, so now let's press tablets, press Alt H. And now I want to do is these parts on the inside. So basically what I want to do is I want to grab each of these wants more. Maybe I should have selected them as a vertice group. And instead, that might have made it a little bit easier, but I'm just going to go and re-select them all. Just one small like so. And there we go. So press Control plus, let's press U on Wrap. Let's make them smaller. Now, we can probably get away with these ones at least to coordinate and China's per mole in, in one UV light. So remember the inside of these. So we've got the inside now selected. I need to press Control minus on one going to do now just with these ones is I'm going to put them on the goal like so. You can see now we've got the gold on there. Now with these metal ones, I'm thinking, can I get away? Do we actually have we have some brass see it as well. So we could put that on. Instead. Let's come in now and grab all these. Press U on rap and then a S, make them smaller, drop them in place, like so. We also need to make sure now this is the same material. So if I grab this and this and just join them together with Control J. There we go. Alright, so now just the legs. So let's have a look at the legs. I think we're done with those. Do we want anymore brass in these, for instance, we might want that in there. So all we need to do is we can come in now and just grab each one of these and make those into bras and leave the bottom parts. I think that's going to look pretty nice for as you unwrap. And then S S bring them down. G, hold them in its place. Yeah, nothing that looks, that looks pretty nice. Alright, now let's go back to modeling. Let's make sure all of this is joined together. I can delete this store now the way because we know we've got the right height and everything. So delete that out of the way. Grab all of this, grabbed the legs last press Control J. We go. And then what we'll do now is put this into play. So if I press seven, I can bring it over now, put it into place where I want it. Let's put it and make sure shouldn't be on the floor because we already used all stool to actually put it onto the floor. So like so. And then All and let's rotate it around a little bit. Then let's press G and just pull it out jaws to tiny fraction like so. And then finally, just make sure again, that blow. And there we go. Now let's save our work there. So file save. And then let's come to our rendered view. And there we go. Finally, that is everything in our scene and you can see, it looks really, really nice. I'm really, really happy with that. I'm hoping you happy with yours. We've done a lot of modelling there. And you can see now you've got a lot of different skills to actually create many, many different types of models. You can see how we cut corners with the piano, for instance. You can say, oh, the things we actually modeled out the full process. You can see on the, something like the violin, again, because it's an isometric room. We don't actually have to model every single little Paul. But you have got the skills now to actually model all of those little intricate parts and worked to a reference if you need to. We can also see now it's quite easy to create things like foliage. And also you've got the skills now to go in and create your own couches because we didn't actually just pick a simple couch. You were actually made it a lot more complicated than it probably needed to be. Alright then, so with that, let's now think about setting up our lighting. Alright, so the first thing I want to do is I want to bring in some light, so some light to bounce off via, because although the song will do a lot of it, it's actually better if you actually bring in another light source as well. So what I'm gonna do is I'm first of all going to come round here. I'm actually going to put this just onto material mode just so I can actually see what I'm doing. Then I'm going to bring in an area like, it's kind of like an object that actually emits light into a certain direction. So if I press Shift a cooled down to lie and the one we're looking at is the area or one of them bring that over, over to here. I want to make sure that this has on global like so. And then what I wanna do is press all unwind, just pointing that out. I want to bring it up then. So it's actually pointing at the window. So let's say it's pointing somewhere around here. And then we'll want to do is bring you up a little bit more because at the moment you can see it's not quite right. Let's bring it in a little bit closer and let's make it a little bit bigger, like so you should have something like that. And finally then let's maybe pointed. So all want all zed, sorry, point to it a little bit around this way, like so. And then what we wanna do is you can see at the moment is actually pointing right at the wall. And I'd probably want to pull it over, so it's actually pointing at the window. That's why I'm trying to do is I'm trying to make the light coming through here and actually help her out with another line on top of that. So I'm going to do now is just going to put this on rendered view and you'll now see what I'm talking about with the light. So if I put this now on 100, so click on one, there are zero hundred. And now you'll see actually brightens all that up and looks as though actual sunlight is coming through the actual window. Now the other thing you may be want to do is you just probably want to change this from where is it, from square to disk. It does actually help soften out all the light. It makes it look a lot more realistic and light sunlight. So now you can see we've got that beautiful shine coming off of all piano with the window and everything like that. Now, this, as you can see at the moment, it's not enough, though. It looks quite nice with the HDRI in the background. We can actually push this further than what we've got it. The other thing as well is that this light is probably a little bit to to white. Let's put it on a little bit of yellow and add a little bit more warmth there. Now, the next thing we want to do then is we want to actually bring it in now or actual real life because we're not actually going to rely on this HDRI. So the way I'm gonna do is I'm gonna go over to my shading panel like so. And then I'm going to zoom out. I'm going to put this onto rendered view, let it load up, let's get it in place somewhere. So something like here. And then what we're going to do now is we're going to come down to where it says object. We're going to put this on world. And you can see it says HDRI setup. If we zoom out a little bit now we can see this is our HDRI set. So now what? I'm going to use this, I'm going to use a sky texture on this. So the sky texture is inbuilt within blenders part of the actual nodes. So if I come over here, press Shift a, and then what I'm looking for, search sky texture like. So now, because this is a little bit more complex to set up, all I'm gonna do for this lesson is I'm just going to bring it and plug it into here and you'll see it completely changes out everything actually looks. Now the other thing is, we need to bring in our actual plane. So if I press all teach, have we still got a plane in there? I don't think so. So what I'm going to do is I'm actually going to bring a plane in. So I'm going to grab this floor, press Shift S because to selected. And then we're going to do zoom out a little bit, press Shift a, bringing a plane, press the S born, bring out much, much further. And you can see now what difference that actually makes. And this is gonna be handy because once we bring in our camera, we don't want to actually see just an empty floor or anything like that. So now we can see we've got something like this. I want to make it even bigger now so it covers near enough all of that going out there. And then what I'm going to do now is actually changed the floor on the next lesson into actual glass. All I'm gonna do on this one isn't just going to click New, put it onto floor, like so. And then our next lesson, we'll change this material, will get that in first. And it's also helps because you can actually see where the sun is shining right now. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 58. In Depth Guide On Cycle Rendering : Welcome back everyone, blend the three began a step-by-step guide to isometric rooms, and that's where we left out. Alright, so let's come to our floor now. And then what we'll do is we'll come in and first of all, put this onto object. And then the moment we've got a principal, but if we change this over to glass, glass P, S, D, F will end up with something like this. Now all I want to do with the roughness and the IOR, I want to set the roughness down to nought 0.350 and then the IOR down to zero. And then what I wanna do now is just bringing a color ramp just to change the color. So shift day, let's bring in just a color ramp. And then all I'll do is I'll drop the color into here. Now what I can do is I can actually just bring in another one of these. So if I just control and click, it'll bring in a new one. And then all I'm going to do now is set the color and I'll just grab you actually the color. I'm gonna go to a hex value here. So I'm going to come to this one, just make sure you vote selected. Come back to this one and then go to the hex. I'm just going to drop in this number 848088. And there we go. Let's change that color. And now you can see it's got that slightly blue tinge and we've got law of reflection on there. And you can see if we brought in all Cameron now from this view. So something like that, it's going to look really nice. You might actually want to make this a little bit darker if you want to be free to do that, you can also mess around and bring it up or make it lighter with this, it's actually not working. So think instead, yes it is. There we go or we can make it darker or lighter like so. All right. I'm just going to bring it in a little bit. Now. We've got all our main lighting. We've got this light in. The other light that I want to get rid of is this one here. We don't actually need that anymore. Now we're ready basically to do create our actual world. So all I'm gonna do now, just select your floor and then what you can do is you can come over to our world. And now we've got our actual sky texture in. I'm basically going to come to my sky texture. And I'm going to set a few of these up. So I'm gonna do is I'm going to set the intensity down to nought 0.3 because it is very, very intense anyway, as you can see. And then what I'm going to do for now, I'm just going to set the elevation to 33.2. Then what I'm going to do now is set the sun rotation. Now the sun rotation. I'm actually just going to leave that for now because that is the one where we actually get to turn this around. Now the air I'm going to set to naught point naught 50. The actual dust I'm going to set to nought 0.2. Now what I'm going to do is turn this around now. Now you can see because I altered this floor and made it a little bit darker, It's probably going to be wanting to be made a little bit lighter now, bye, hey, whoa, let's first of all bring around the sun rotation. So if I start to rotate my son round as you can see, let's keep rotating it so you can see it's beautiful song on there. But we're actually going to rotate it around because what we really want is to get those windows into our SSC as I bring this, moreover, now you can see our windows are starting to come onto our floor. So I'm partly on our set T and that is kind of what we're actually looking for here. Really, really nice lighting. Now, what I want to do is I want to make sure that first of all, this floor so we can see this floor. Let's go to Object. I'll zoom out a little bit more. Don't want to do is just make this floor a little bit lighter. And as you can see as a bring that down a little bit, it actually likes, ends up the whole world. Now the one thing I'm thinking is, am I happy with how much light is actually in this scene? I think actually at the moment, a minute, go back to wield, zoom out a little bit. And then what I'm going to do is just going to come down to where the sun intensity is. Let's put it on five and see if that brightens it up. Sorry, nought 0.5. So I think actually that's not probably going to work. So no 0.3, let's just put it back on nought 0.3. I think what we'll do is we'll probably brighten up the whole scene through our composite him, which is what I'm going to show you once we've actually set up our camera. So now we've got actually are lighting all set up pretty much. Let's go back over now to modelling because we've pretty much finished there. And then what we wanna do is when I press tab, double-tap the age to make sure nothing selected, we can delete old guy now we don't need him anymore. And then what we can do is you can also click on these two interlocking links, and that then will turn all of those lines off. Now let's bring in our camera. So if I press Shift a and calm down now, I'm bringing a camera and then I'm just going to save up my work. So File and Save. Now instead of moving my camera to this position with these all on the news, simply just press Control Alt and zero. And that then is going to place the camera exactly where I want it. And that then is much, much easier than trying to fiddle around and get the camera from there to here and things like that. Now the next thing I'm going to do is I'm going to zoom my camera in. So what I wanna do is I want to scroll the mouse wheel in and get my camera. So it's at the edge basically of my viewport. Now if you go one more, you'll see it's two false, so you just need to be quite careful with bringing it in. Next level then I just want to come to my view. And then what I want to hear is this camera to View, you can see this red line going around there. That means that your camera is basically locked to the view. Now when I actually move my actual mouse, you can see now the camera actually follows it to it. Alright, so let's set the position now to zoom in and now you can use the scroll wheel. Of course, what you can see kinda clicks and we don't really want that. So what you can do instead is Control Shift and then just pushing middle mouse and then you can push it in. I'll pull it out. Now I'm going to do is I'm just going to get the view that I actually want to once again make sure it's in the center. And I want to also make sure that most of this floor, at least for this shot, is not it's not wasted. So in other words, I want to press Control, Shift, middle mouse, something like this. And I think that is the kind of shot that I'm probably going to be going for. Maybe, maybe I just want to turn it around a little bit. And if this bar, this is annoying, just press the end boldness to break out of the way for now. And I think something like that is looking pretty nice. Alright, so I'm thinking I'm happy with that. Now the next thing I want to do is I would just want to make sure that I take my camera to view off. So just take this off. Now you should be left with something like this. Now, at the moment, you don't really want to be altering your camera or anything like that. What you now want to be focusing on is, is basically getting now the actual renders that you're going to want. Now we're gonna do this a different way. Because what we're doing is we're going to render this out with our ambient occlusion. So we're going to try and get out our ambient occlusion because then we can actually use that in the compositor. But the way that we're going to do is we're going to come over to the right-hand side and we're going to come down. You can see at the moment we've got combined, what that means is it's got like the color and everything on top of it, combining everything in there, things like normal maps. Well, we want to do those scroll down here and you've got actually one that says ambient occlusion. And let's click that on. Now what we wanna do is now when we come to our render is we want to make sure that this is set up properly. And I'm not sure if we actually talked about this before, but the best thing to do before we start is go to edit preferences come to your system. And you want to make sure that the optics, which is the cycle's new cycles x, is text ticked on. If it's actually available, you might only have q two here. Just make sure both the graphics card and the processor above ticked on and then you're ready to rock and roll. We don't really need to do anything else once we've ticked those on. Now, unfortunately, for some of you, you might not be able to take any of these on. It basically just means that you're going to have along the way for actually rendering out. Alright, let's close that down. Now what you wanna do is just want to make sure that the GPU is on Compute. And then finally, what you want to do is you want to come down to where it says performance. Now this is the other important thing. When you using your GPU, it's important, or I find it's important to make my Tau size is much, much smaller than what they normally are. So I would put this to 64. Now, I'm using my CPU. I would then put this up to 2048 or something around there. And the reason for that is, by the way, is that the GPU seems to actually render quicker on much, much smaller sample squares. In other words, each area of whites actually rendering out, it seems to work better than trying to render the overall part of it. So 2048 is probably going to be around this size. That's good for your CPU. Gpu is probably better with little, little squares instead, the next one, if you scroll, if you hover over here, you'll see it says use spatial space longer build times faster render. This is good. If you want to re-render things. The one went to do is I'm going to click this on like so. And then I'm also going to use, I think it's this one here. You don't actually want tick on. You want to take this one on which should already be ticked on. He says users more RAM, but renders faster. Now if you're actually having a problem with your RAM and rendering, just make sure you take this one on instead and take this one off. The other thing we want to keep persistent dates around, because every time we come and then re-render, the sum of the data's already there. So that's quite actually quite handy to have. Now then the final thing is the amount of samples that you're going to actually be rendering out. So you can see at the moment we've got render and we've got maximum samples here. Now, for the first render, I always render it in a very, very low sample level. This basically is how long is it going to take? It's how much detail you're going to get. It's how high definition it's going to be. And this by turn up or turn it down actually controls that. So for me, when I do my first initial render, I put this on 50. And the reason I do that is because with that then I can get all my compositor sets up, everything like that. And then when I'm happy with it, then I can finally up the amount of samples that I'm doing, Miranda, because trust me, some renders can take like 20 h depending on what machine you're using. So you really, really want to make sure that you're happy with it before you start. Alright, so now the last thing before we end this lesson is I just want to turn this down before I go any further. So what I'm gonna do is just go back to my shading panel. I'm going to come to my whereas if my object and I want to just make sure that I'm happy with how this looks. So I'm just going to zoom out. I'm just making sure that I'm happy. But turn that down just a tad like so. Alright, so what we'll do now on the next lesson is will actually click the Render button, will render it out and we'll grab our ambient occlusion now show you how that works. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 59. Full Breakdown Of The Blender Compositor : Welcome back everyone to blend the three beginning step-by-step guide to isometric rooms. And this is where we left off. Alright, so now, now we've got this. Now we're actually going to go out and do our first render. Now, it's important when you actually come to render out, first of all, being modelling because it actually helps. And what you also want to do is you want to put this onto your wireframe. And the reason is because at the moment, this is actually rendering now although every time I turn this around, let me just make sure my camera's not on cameras, not logged. Every time I turn this around, as you can see, it's re-rendering it. We don't really, we don't really want it to be rendering and then rendering it at the same time. So what I always do is I put it on the lowest available, which is this one here, which is the wireframe, which means that it's using less RAM. So Blend is using less RAM ultimately, because it's looking at a wireframe and there's not really much to see. There is no textures being rendered. There's no objects with cavities or anything like that. Then what I'm going to do now is first of all, before I always click that random bone, always say about your work just in case you have a crash. And then the next thing you're going to do is come over to where it says render. And you're going to render image now because it's on 50 samples is going to be very, very low. The other thing we wanna do now is where it says combine, you want to put this on A0 and you'll notice now it actually swaps them straight over. And this is the one that we're actually wanting to get out. This actual here is where all the shadows and all the depth of the actual scene. And this is why I'm actually using this. You'll notice when it finishes, it's probably going to finish. Yes, it's finished. It's very, very noisy as you can see. And what you can see, even the normal map is all what kind of pushed out and things like that. Now if I put this now back on combined, you can see that this one isn't noisy. The A0 for whatever reason he always does that is noisy. So that's something to take into account. But as you can see, is what we're actually left with. It's a really, really nice render already, but we're going to push this even further. And this is what takes you your images like this, although it looks good, but really going to make them pop and things like that. Then once we've got this in, we're going to actually bring in some volume. What I wanna do there'll be full bringing in the volume is I want to show you what we can actually do with this. So now what we're gonna do is gonna close this down. Now, don't worry, everything's still there and then we're gonna go to compositing. And at the moment you can see we've got nothing in the screen. But if we click this huge used nodes, now you can see that we've got our image in here. And the other thing you can say is if I plug this in now to image, and then what I'll do is I'll pull this over. So just grab it on the left-hand side, you'll see a little cross that goes over. Just pull this over like so, close this panel down with n, so close that down. And the other thing is we don't need this timeline. We're not doing any animation or anything like that. So I'm just going to come grab my little cursor there, pull it down. And what it's gonna do is it's gonna give us more room over this side. I'm gonna do the same on this side then, like so. And now all of this base, we've got to actually work with them. Now, finally, on this side, as you can see, we can't really see anything. So what we need to do is click this down arrow, come to image editor, and then all you're going to do is look for render. So what we're looking for here is render. So a render result. There we are, There's our render results. So now you can see here is all rendered view of our actual scene. And if we plugged in now or AO or ambient occlusion into here, you will see that we can swap these over. Now, if you can't actually see yours, just make sure you go and click on View layer and then you should be able to swap that over. Now what we're trying to do is we're trying to combine the ambient occlusion and the actual rendered lead. So what I'm going to do is I'm just going to pop this down here. I want to press shift D then and duplicate that like so. And then one we're going to do now is I'm going to actually plug in the image instead. And we should end up with our image there. So I wanna do is we actually want to combine these. Now. To combine them, we do need a mix, but before we do that, we need to sort out this ambient occlusion. So if I come over plug-in my ambient occlusion like so what I need to do is I need to stop all of this noise that's on there. So I'm going to press Shift day. I'm going to plug-in a D noise. So d noise. I'm going to plug that into here. And you'll see once this actually composites, It's actually cleaned all that up for us. Now the other thing is that I also want to have some control over our dark or light these patches are. So the way I'm gonna do that is I'm going to press Shift a and new research RGB. And the one I want on is RGB curves. I want to drop that in like so. Let it think about it. It's not really going to alternative in. But if I then pull this down to here, you will see now it's going to make it much, much darker. And now we've got a lot of control over this. So now what we need to do is we need to actually think about joining these together, them on us a little bit too dark. So I'm just going to pull it up a little bit. You'll think about composite unit, and there we go. Now, let's join these together. So what I'm gonna do is I'm going to press Shift a and want to do a mix, a mix like so, I'm going to drop them, I mix here. Now at the moment, nothing's going to happen. It should just turn why? Because obviously we haven't gotten anything else plugged in there. What I'm going to do is I'm going to plug my ambient occlusion there. Then one wins do is I'm going to bring my image. And plug this into the top one like so. And instead of it being on mics, I don't really want to mix. What I want this on is overlay. So if I click on this overlay, this one here, let it think about it. And there we go. And now as I bring this further down, you will see hopefully that we start to actually have the ambient occlusion then laid over the top. Now if I come over here and I turn this up to something like here, you'll notice when it thinks that all of these dark shadows get a lot lighter. So now we've got a lot of control over hot dog. These actual shadows are and things like that. That is exactly what a warm want control over the ambient occlusion. Or I'm gonna just put it like that for now. Right now we've got that. Let's work on the next part of our scene. Now what I tend to do is I will bypass this. So in other words, the more things we start adding into here, the more actual time it's going to take to composite it. So what you can do instead is you can just simply grab your image and just plug it into the image there. And then we can come and plug this back in once we've got everything. So now I'm going to do is I'm just going to pull this over. The first one I'm going to bring in is a diamond sharpen. So if I now press shift a, shift a, so let's put it in the filter. Yeah, that's the one I'm looking for. Are dropping a filter at the moment you can see it's softened ever, It's not. What we want this on is diamond sharpen. And now you can see we've actually got control over how sharp or image is. Now what I tend to do is put this on nought 0.2, and then we'll make it slightly sharp, but not too much if I start to miss. So you can see just how much sharper that is. I think actually I'm not going to prove quite that high. I want to put it on something like that. Now this might mean altering once you've actually brought in, once you've render How much higher level. Now, let's bring in a little bit of a glare. So I'm going to do is I'm going to press Shift a, I want to click the glare like so and we're bringing in a glare. And what this tends there is if you've got street lights and things like that, it tends to accentuate all of those with bloom or with fog globe. But you can see at the moment we've actually got some little tiny streaks on here. Now this might be actually good what we're actually looking for either first of all, turn the iterations up. You can see now it kind of makes them look a little bit bad because based on what this is doing is how many times it's actually putting it onto there. Now the other thing is let's actually mess around with this a little bit. What I'll do is I'll turn number of streaks up. I think I'm going to keep it like that. I'm going to keep the angle as it is. What I'm gonna do is just bring up the color. Just turn it down just a little bit, just so it's not so bright, something like that. And I'll also think just trying to bring the threshold down. Yeah, that's what I didn't want to do that. So let's bring it up. Then what we'll do is slowly drop this down. So I'm going to bring this down, just keep dropping it down. Let's try one point to actually, we'll try that. So we've got that little bit of glare coming off of that and that's exactly what we want. Alright, so the other thing you can do is bring up the mix, but you'll see it makes it. What this actually is used for is to see where the actual shines coming off. Once you then happy with it, you can actually get rid of the mixing and keep it as is. I'm just going to see if I can bring my fade down a little bit like so, and just fade it out just a little bit. If I bring this all the way up, you'll see it brings it out like so, so I don't actually want it like that. I want it very, very slight. And then what I'll do is I'll just bring my mix down to zero, like so. And there we go. Now we've got that little bit of gluten. Now we can also use this for actual folk glow as well. So you could bring it out and make these glow a little bit so we can also use it for that. I'm not going to use that in this one. So I'm quite happy with how this is looking at the moment. Alright, so the next one we want to do then is the actual color balance. So what we can do is we can actually move this over, press Shift A Search color balance, which is this one here. Drop that in there. And now what we can do with this one is we can really kind of balance out all of those colors and get it exactly the way that we want it. So for instance, if I pull this moreover to this way, you can see that it makes it all kind of this yellowish color. Now I want it to be like kind of some flats in the middle of New York or something like that. So I'm just going to put this a little bit of a yellowish tinge. And then what I'll do with this one is I'll bring it up to the blue tinge. Let it think about it. Let's pull it all the way up there and have a look. Go way, way too much. So it's pretty around there. And there we go. And then on the final one, I'm going to put this one also a little bit on a yellowish tinge like so. Alright, that is what i'm, I'm happy with how that looks as well. I'm thinking, are these lights kinda Brian, OK. Do I need to brighten up these lights? But again, that's something to think about once we've actually salted out the rest of the actual scene. Now, I'm really happy with how this looks at the moment. So what I'm gonna do is I'm just going to save it out. And on the next lesson then what we'll start doing is just refine this down a little bit more. Maybe we'll want to change the overall brightness and things like that of it. I think it needs that actually. So we'll think about that on the next lesson. All right, everyone, so I hope you are enjoying it. I hope your scenes looking really, really nice and I'll see you on the next one. Thanks a lot. Bye bye. 60. Bring Scenes To Life With Volume: Welcome back everyone to blend the three beginner step-by-step guide to isometric rooms. And this is where we left it off. Alright, so now let's pull this out a little bit. And then what we'll do is we'll bring in a RGB, so shift day search RGB curve. And that's what this is going to do, is control the overall brightness of our actual scene. So now if I come in and just bring this up a little bit, you'll see actually brightens a whole scene up and makes it look really, really a lot more realistic than where it did before. Now let's say. So you can see if we bring this down, it's going to make it much, much darker. And now you've just got a lot of control over how the scene looks. So you can see like, so now the next node which I'm going to show you will be brightness and contrast. So this one here, Let's drop this in. Now this is where we can actually control just how bright it is. So if I turn this up to nought 0.3, you can see we've got some really fine control now over how this is. What I'm gonna do is I'm going to put this to zero. So then just drop it down a little bit. Like so. And we can just get a lot more realism out with that. And the contrast as well, we can actually mess around with that. So let's just turn it off like so and then just refine it down what we actually want it. Or maybe that's gone a little bit too far. I'm thinking that I might want to be able to see in here. So I'm just going to turn this down like so. And now we should be able to see pretty much something in the back of their, Alright, so I'm happy with how this looks. Now the next thing we wanna do, now we've got all of these things in, is plug all this together and then see where it looks like and then refine it even more. So what I'm gonna do is I'm going to grab, you can see we've already got one going from there. So what I wanna do is grab this one now, plug it into the bomb. Let it load everything up. There we go. That is your overall scene, how it's going to log. And now you can come and refine them down even more, but you can see just how nice that actually looks now. Alright, so now what we're gonna do is we're gonna go back to our scene and we're just going to bring a little bit of volume metrics. And then what that means is we're going to bring in some kind of cloudiness coming down here. Some kind of, you know, when you look in the sunlight, you can see the dust particles and things like that. We're just going to bring some of that in there now to really, really make this scene really, really pop. Alright, so let's go over back to modelling. Let's come over to object mode, and let's now create our volume metrics. Okay, so what I'm gonna do to do that is I'm going to come around. First of all, I'll put this on just so I can see my son again. And when I press tab come to my son, press Shift S coaster selected and then Warden didn't do now is just bringing a cube. So shift day, Let's bring in a cube. I'm going to pull my cube because basically I want this to come from the actual window. So I want it to be roughly around the same size as the window. I'm going to pull it down a little bit. And then what we're gonna do now is just grab this end of it. I'm going to pull this end out to here. And then we're going to do is just poke it down into the floor, like so maybe pull it to the side a little bit. This then whatever passes through here, It's kinda going to be my actual volumetric light. So what I wanna do is probably pull it up a little bit just to where the window starts, like so. And that might be enough. Now you will see as soon as we bring this in how this is actually going to look. So the first thing I'm going to do now is I'm gonna go over to my shading panel with this on. So if I click on this, I want to come on here first, click New, and I'll just call this volume like so. And then I'll go over to my shading panel now. Now you can see at the moment, we've got this principled here. We'd really don't need that. But what we're going to do first of all, is go to my camera view. So press this arrow, go to camera view, put it onto rendered view again. Let's save it out before we do anything else because volume is quite intense. And then what we need to do now is delete the principal. Bsd means that it'll turn black. And instead now what we're going to bring in is a principal volume, so principled volume, this one here. Then all we're going to do is now we're going to plug this volume into the volume like so. There you go. Now you can see that beautiful kind of sunlight actually coming in. Now the thing is that the moment you can see that this is kind of gray and we really don't want that, but we can actually set the actual color so you can have it on a yellow color. Again, this is way, way too bright, so let's just turn that down a little bit more like actual sunlight. Then finally, the last thing we want to do is obviously this is way, way too many particles in there. So what I'm gonna do is I'm just going to, I'm going actually put this on zero. Let's set that back to zero and turn the density down like so I'm going to turn it up very, very slowly. Like so. There we go. There is our particles. Now let's double-tap the a. Let's click this off. Now is looking much, much better like so. Now you might want to move your lights round on this, but I think I'm really happy with that. The one thing I think. Yeah much you're going to try it with that. I think I'm happy with that. Now finally, the last thing on the temperature is if I turn this up something like 20,000 likes, so you'll see that it kind of makes it a little bit warmer. So I'm just going to turn that up to 20,000. And apart from that, everything should stay the same now. Now the one thing now want to do is I want to come back to modelling. What I wanna do is actually wanted to render this out again. So again, before we do anything, I'm just going to click this onto my wireframe. I want to press Tab so I've not got that grabbed. And then all I'm gonna do now is come over render image, and let's render this out. Now, we should see when this finishes rendering now, this render actually gets transferred over to our composite. We're hoping, and I think it will get over there. Now the other thing is you can see all of this noise. Now, we're hoping as well that we can start turning that the de-noise or will turn all this down and see, Let's see what it looks like. Obviously, the higher the sample rate, the better the render is going to look. The way I'll do first is it will finish rendering, then LD noise it, and now it will actually bring in all of the competent in that way actually did. So there you go. There's the composite and on top of that. And from there now we can actually come in and either mess around with this because it's probably looking a little bit too high. So let's come in. First of all, we'll do another render as well. So I'm going to do is I'm going to grab my box like so. I'm hoping that I should be able to come in here now and turn this down. So what I'm gonna do it on his naught point, naught 50 instead. And then I'll come back and render this again. So Render Image. And it shouldn't be anywhere near as high now because it only needs to be very these gold grays and things now they all need to be very gradual. They don't need to be too high. So now you can see we've still got them there. It's kind of more subtle now. And I think actually that's looking much, much better than where it did before. So now we'll let this render out. We'll have a look where it looks like. And then finally we'll go in and make sure we're happy with all of the colors and things like that. Alright, let it finish. There we go. There is our actual scene. And now I'm going to do is you can see how very, very subtle it is now I'm going to close that down. And then when I come to my composite in, and here is our actual scene. Now this is where we can come in and mess around with all of the little things that we've done there. Remember, it's going to take much, much longer because of the fact that we've got a lot more going on here. I'm going to pull this back down to then see what that looks like. I'm just thinking that might be a bit nicer. And then what I'm going to do now is I'm going to look at my this is the overlays. So this is how much shading and things like that. If I turn this down all the way, Oh, that looks like the other way. And now is all about refining. And I'm thinking that's actually looking a bit better already. So maybe it just a little tied down. And there we go. A thing that looks, that is what I'm actually looking for. And now let me think about the sharpness. I think I'm actually happy with this part here. I might want to turn that down a little bit in Miami too much of the globe. So what I'm gonna do is I'm gonna bring my mix-up to one like I told you. Let it think about it. So a load that makes soap, and then we can start turning these down, I think to turn those down, Is it the fade? Let's just have a look in. Turn the feet down to zero. And you can see they got rid of some of them but not as much as I wanted. So let me just turn down the column odd. Then there we go. That's probably the one I'm looking for. Overturn that all the way up to one. I think it's going to turn them down quite a bit for me. So something like that. And then going to turn the threshold, Let's turn this threshold down. But we know we add it in one point to turn that down. So I'm going to put it up to, let's see to what that actually looks like. And then we go, maybe that's bad than what we actually had. I'm thinking now as well. Actually that might be okay, so now let's just put our mixed back on zero. I'm thinking, yeah, that's probably looking much, much better than what we had it before. Alright, so I'm happy with that. So the next thing now is I'm thinking of, let's do the overall brightness of the actual scene first. So if I bring this up a little bit, I'm thinking that looks much, much better than where it did before. It's looking much, much brighter now. And then we're going to do is I'm going to turn on or turn it down or theft due just to see which one I'm actually are how much they alternate. There we go. I don't actually a thing I'm gonna put down no point to and leave it on there. Maybe down even further. I think it's pretty down to 0.3. Okay, yeah, that looks better for me. And now the contrast, let's put the contrast down to nought 0.4. Okay, I'm thinking I'm happy with that as well. And then finally, now let's have a look at the actual color balance. So let's put this to zero. And you can see now it's probably, probably not. It needs to be a little bit more yellowish, like so. And let's put this now to zero. So this is all the refining that you need to do. And then you can say there's probably a little bit too yellow now. It's gotten us some nice somewhere. It needs to be a little bit blue. Okay. You can also play around with these. So in other words, you can really bring it down and adding a lot more maker, lot deeper as you can see. So I don't actually want to do that, so I'm just going to pull it up a little bit. Like so. Okay. I'm looking at, I'm thinking, Yeah, I'm think I'm happy with that. Alright, The one thing that you might want to do finally, is these lights. So let's now go in and what we'll do is we'll just mess around with these lights now. So I've put this back onto object mode. And then on the next lesson, what we'll do is we'll just brighten these lines so just a little bit, re-render it out. And then we can do a mid Brenda and then I'll final render. And then that's it. They actual scene is created. Alright everyone, so hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 61. Creating A Rough Render: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms, and this were left out. Alright, so now let's come to our lights. So what I'm gonna do is I'm just going to pray on rendered view. I'm going to double-tap the age of so I've not got that selected. So double-tap the a. There we go. Let's come to our first light and let's try putting on 60. Let's try that and we'll put the other ones on 60 as well. Like so. And just make sure that they're all on 60. And we might need to turn them off more. We will see so 60. Let's have a look. If we press zero now enough that I think they might look a little bit bare. And also this, what I'm going to do is I think the color ramp on here, as you can see, if we turn this up, we can see now we can get it much, much darker. So the more we put that all, the darker it's going to be. So now I've turn that off. I'm going to do now is I'm going to put it onto wireframe, save out my work again. And then finally let's do a render surrender image. Everything should be okay now it should only be down to the actual the lights and things like that because we checked what it looked like before. Now we have a change made the actual floor a little bit darker, but it shouldn't have really that much effect on the overall scene. So let's actually see what we've got and we've finished with this. And again it will render, then it will de-noise. And then finally all composite. That is the D noise. Now the composite in, let's have a look. Well, if we're happy with that, Alright, I think I'm happy with that. I think we're now ready to actually move on to our next render. You can see maybe the sharpness is a little bit higher. Maybe it is, maybe it is. Let's go and fix that. That's the one thing we actually didn't fix before finishing. Alright, so what I'm gonna do is I'm going to come in. I'm going to turn my sharpness all the way up to there and just have a look. If that's the right way. Note that's not the right way, so I need to turn it down all the way down to here. Let's turn it down to zero, okay, and now I'm going to do is I'm just going to turn it up very slightly because I don't want this edge is great and all that for me. So you can see now we've got this kind of sharp edge. Now there is another one we can actually bring in as well, which is called anti-aliasing. So if I press Shift day anti-aliasing, we can also bring that in. And what that'll do is it tends to try and round off the sharper edges. So I'm going to try now and bring the contrast limit up, like so. And then I'm also going to call it a roundness up. Yeah, It's reduced a very, very slightly. And now I'm gonna do is I'm gonna pull this down very, a little bit more. And let's see what that looks like. Once that's in there we go That might be nearly there. So I'm going to put a naught point, naught 35. Let's see what that looks like. And yeah, I think that is looking much better than what we had it before and looking as well at, at the, the lights now, and I'm thinking they look a lot better. So finally now we're ready to actually go over and turn off our actual renders. So if we put this render now on to 50, let's say Not that one. That is a viewport redness. So just make sure you're putting it on the right render. So 250 on this one. And then what we're gonna do is we're going to go file again, save out your work Render, Render Image. And you can see now it's going to take a lot longer. So what I'll do now is I'll actually speed up this. And then when it's, when it's actually done, then we'll come back and look at what we've got. Okay. And here's what we're actually left with. And I think actually it's looking really, really nice. So I'm looking now at the detail that we've gotten here. Remember, it's still pretty much on a low actual level render. Now the other thing I tend to do at this point is no. All work that you do is going to be perfect. You never gonna be 100% happy with anything you do. What you need to do. Now before you do a final render is make sure that everything is as happy with as you can be, but don't, for instance, you might want to alter the set E for instance, you can see it looks a little bit hard edge around this part here. So you might want to round those in. This is, this part here is all about actually going in and looking at the artwork that you've produced and saying, Okay, what could I have done better and what could I change now to make the image look there? Don't go in then try and change everything to make everything better because that's not what you should be doing. You should be just critically analyzing your work and saying, Hey, you know, next time I should have made some panels in this wall or maybe I want to make my plant like the set T. Maybe I should have made these edges more round. Maybe I want to move this stall is the things that you're looking at now as well, these other things that you want to change now. But the overall thing, just critically analyze it for the next time that you actually do your work. So for instance, we can't really see these petals without moving this stole over a little bit. I think for me then I'm just going to go in. I'm going to move the stool slightly so it can actually get a good view of those petals. I think everything else in this scene I'm pretty happy with, I think I'm happy with the overall aesthetics of the moment. So how it's all kind of look in the colors of it. Maybe it should be a little bit darker and I think maybe this floor needs pulling up just a little bit. So what I'll do is I'll go in, alter the stalled, pull the floor up a little bit, and then I'll re-render how much higher sample. So I'm going to do is close that down. I'm going to put this on to object mode. And then what I'm going to do now is come in, press Tab. Grandma grandma stole grandma's store like so. I want to make sure I'm in my camera view, which I am going to do now is just rotate this store round and maybe just pull it back, like so, so our Zed rotate it round. And now we can actually see some foot pedals in there. And I think I'm much happier with other laws. And the other thing I said is the floor. So I'm gonna go jaws grab my floor. I'm going to pull it up. You can see that it goes all the way down. Just pull it up very slightly like so I want to put it then on wireframe. Now this one is going to take much, much longer. So I'm gonna do is I'm going to come to my samples. I'm going to pour it on something like In fact, before I show you that, I'll show you one more thing you can actually do to enhance the colors. You can actually come down. So if I put this onto my rendered view, I can actually come down now where it says column management. And the last thing I want to show you is where he says, look, you can actually come in and change the contrast of how the actual overall scene looks. So if I put this on medium contrast, he actually brings out the colors and make them look much, much darker as you can see. Now the problem with this is of course, that once you brought this out, you after them, make sure that you go in and alter the other colors in the compositor. I'm just gonna give it a try with medium contrast and see what that looks like. So what I'm gonna do now is going to print and wireframe. I'm going to leave it onto 50. And again, I'm going to run, I'm going to first of all say that my work, then I'm going to render, render image and I'll be back again once this is done. Alright, so this is the finished result of God. Now in the next lesson, what we'll do is the final render. Most of our lesson will be taken on. We're just speeding it up again. Just make sure that you're happy with it. I'm happy and now that I made the colors a little bit more vibrant, we could have also done not by the way, in the compositor. All we need to do is bring in another node, which will be Hue and Saturation. We can do it that way. But I liked the way that Blender does it when you actually mess around with the color management. Alright, so I'm happy with that. I'm happy with everything on their happier reflection. I'm happy Are these have turned out. Now. What I'll do now on the next lesson is we'll make our final render. All right everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 62. Final render & critique: Welcome back everyone to blend the three began a step-by-step guide to isometric rooms, and this will be the final lesson. So what we're gonna do now is I'm going to close that down. We're going to come over now back to our, whereas it over here to all samples. And what I'm gonna do is I'm going to set this to 1,000 samples. So 1,000 samples, I'm not going to say to why I don't want to be rendering now, then the next 24 h and up to speed though for you. But again, as I said, the higher that you were put this, the longer it's going to take. You can also turn down the noise threshold. In other words, if you turn this down to zero, is going to take a lot, lot longer to render, but it will give you a better result. Because instead of letting the loads and noise in and then the noise in it, what it will do is actually just get rid of as much noise as possible before de-noising it. So that's another thing you can do. You'll find that when you turn this up to something like 5,000, it will take around about the same time as 1,000. But the thing is as soon as you start turning this noise threshold down, then you're gonna get a much, much longer actual render period. So again, now what I'm going to do is I'm just going to come up, save on my work one small and then go to Render, make sure that you're on wireframe. And then we're going to render the image out. Now you can see that each one of these now has to get to 1,000 samples. You can see how much slower it is. What this is is it's basically rendering out each one of these actual squares and basically reducing the noise. So it's giving it time to render out the light and the light bounce the shadows and everything like that. And the more samples you have, the more actual time it spends on each one of these squares is the way that you need to think of it. Alright, so what I'll do now, I'll speed this up and then when we don't have a final check of our work, so I'll be back when this is actually finished. Okay, So we'll just let this finish up, and there we go. Alright, so that is the final render of our actual piano room scene. I hope you really enjoyed it. Again. Make sure that you now go over a critically, analyze it and come up with ideas of how you could make it better. I think looking at the good things is the actual light coming into here. The realism of the actual scene looks really, really nice. Again, the couch is something that I'd probably do more work on. Maybe put some more linear, maybe make these more rounded. As I'm looking at this myself, I think I'm happy with the actual overall composition. I might make this actually a little bit darker, maybe something like that. I think they all work in the wooden paneling and everything like that actually fits the scene really, really well. I'm looking at the piano and looking at these parts. May be wanted some strings going across it. And maybe we could have added those in. And finally, maybe we could've just brighten up these really dark areas just a little bit using our compositor. I think I'm happy with how the light's coming through on here, especially this light bouncing off here. So overall, I think I'm really, really happy with my own scene. I'm hoping, really hoping that you're happy with your scene, how it turned out and everything like that. And remember everyone, we have now, 27 are the courses. So if you really liked this course, then go and check out our other courses. Don't forget to give us a review on this course if you really enjoyed it, let us know what you think we could do better. But what you really enjoyed about the course. Also, if you can, um, show us what you've actually come up with, yours might look entirely different from what I've done here. It might look ten times better than the one I've done and really pop out on the page. So hopefully you'll do that and I'm hoping that you really enjoyed the course and I'll see you on the next. And everyone happy modelling.